not so much about 'me' that you can look up in Marquis' Who's Who, as ... about the work ...
A bit of 'overlooked history', #ohnotog, my 'claim to fame' is that from 1979-1980 I 'captured' 20 foot x 40 foot (approximately), dynamic laser images with a Canon F1, 100mm Macro lens and Kodachrome or Fujichrome (slow) film, and am the only shooter in the world to have accomplished that feat. Having shot every format from microphotography to ... and every subject matter short of Weddings and Food, with a passion for Fashion and penchant for Architecture and Tabletop, I've been a stringer for Aetna and had stock in Black Star Photo Agency.
The 'pure light' illusions were being created by laserist Robert Mueller's 'playing the keyboard' of an argon-krypton laser to canned music as part of Laser Group's laser projection performances. My initial intent was to document Laser Group and what I thought was a 'new' image base with unique potential.
With a mirrored scanner spinning at approximately 10,000 revolutions per second, chopping the pure hues from the prism, positioning a dot in space, the resultant images were not just changing with respect to dimension and position, but additionally with respect to hue, saturation and intensity. The overlapping dot of hues produced secondary and tertiary hues. These images existed, were only 'real', in two places, the space behind the viewer's retina and my film.
As I watched the audiences experiencing these images throughout the show I observed a physiological change, pupils dilating and skin becoming flushed. I saw this as a juncture and extrapolation of the seminal works of Bauhaus Geometric Abstractionist and Colorist Josef Albers (1888-1976) and the Pattern Recognition specialist Rudolph Arnheim (1904-2007), a bridge into the area of neuroscience. I named the conceptual premise, 'Inferential Imagery'.