He then discovered the work of Man Ray and László Moholy-Nagy and experienced an immediate affinity with photography, not only as an art form uniquely based on light, but also as a vehicle through which he could more creatively engage with the world.
[3] During the Great Depression of the early 1930s, Bullock stopped his European travels and settled in West Virginia to manage his first wife's family business interests.
[3] Remarried, and with a new daughter, Bullock traveled throughout California from 1945 to 1946, producing and selling postcard pictures while co-owning a commercial photographic business in Santa Maria.
Studying the work of such people as Albert Einstein, Korzybski, Alfred North Whitehead, Bertrand Russell, LaoTzu and Klee, he kept evolving his own dynamic system of principles and concepts that both reflected and nurtured his creative journey.
[5] In the mid-1950s, Bullock's artistry came into the public spotlight when Edward Steichen chose two of his photographs to include in the 1955 The Family of Man exhibition at the Museum of Modern Art.
In 2008, the family estate started making high-resolution scans of his original 35 mm Kodachrome slides, producing archivally stable prints, and exhibiting and publishing the imagery.
[8] In the mid-1960s, frustrated by the limitations of color printing technology, Bullock returned to making black-and-white photographs, continuing to expand his vision to create innovative images that reflected his philosophical nature.
[7] Although he included several different alternative processes (extremely long time exposures, multiple images, up-side-down and negative printing) in his repertoire of techniques, each was always used in the service of symbolizing new ways of relating to and knowing the world.
He wrote, In the early 70s, Bullock started on a new leg of his creative journey, one that he found completely absorbing and deeply satisfying but which was cut short by incurable cancer.
The photographs of Man Ray and László Moholy-Nagy influenced his early experimental work as did Art Center School professor, Edward Kaminski.
[11] Along with Ansel Adams, Harry Callahan, Aaron Siskind and Frederick Sommer, he became part of the founding group of photographers whose archives established the Center for Creative Photography at the University of Arizona in 1975.
Bullock taught advanced photography courses at the Institute of Design in Chicago during Aaron Siskind's sabbatical and at San Francisco State College at the invitation of John Gutmann.