My parents were married at the height of the depression and I was born at the start of WWII. I live in a period of unparalleled prosperity.

My view of the world was shaped by these very different events.

The messages were straightforward: Help those less fortunate, watch your back, never give up, do your part, don’t be afraid to try something new, never throw anything out-you may need it in the future, study hard, and if you borrow anything return it in better shape than when you received it.

Those teachings have made me adventurous yet cautious, unyielding yet malleable, conscientious yet helpful, resilient yet tentative, and creative yet rigid. All framed around the hope and desire to experience the good life.

A Morris Traffic Jam

Taken on the South Island of New Zealand

My photography has become the outlet for this cacophony of direction and has evolved into several themes and influences that I have identified in my work.

I seek to occupy rooms not yet occupied and to open doors not yet opened.

I confront objects straight on.

I search for a unique perspective.

I portray ordinary items as items of interest rather than items of junk.

I enjoy the simplicity of our past and how our society when necessary can survive, cope, and then prosper in spite of economic depressions, horrific wars, and natural calamities.

I want to save what is left.

Among the many influences on my work as a photographer, I am drawn to the works of Edward Hopper, Walker Evans, and Dorthea Lange.

Each in their own way have crystallized my vision and reminded me of my journey.

As you view my photography, I ask you to open the doors, occupy the rooms, find the beauty in the junk, and save anything that is worth saving. After all, you may need it sometime.

Aldis Knight