I’ve been collecting love my job moments before there was a hashtag for it. The calls, planning, testing and setup that lead to that moment on set when one last tweak is applied and there’s a collective “ah, that’s it!” That consensus may need to come over email or via text emojis, but it’s a rewarding marker of successful collaboration between myself, my team and the client.

My approach to making images has allowed me the flexibility to adapt as the needs of brands have morphed. I can move between the demands of print campaigns, in-store display, large scale projection, e-comm, social content, along with motion capture and animations. I am comfortable entering the creative process from a variety of points depending on the project. That can be at the mood board and concepting stage or after a final layout has been meticulously art directed.

Most shoots happen at my studio around the corner from Flatiron. We have all the gear, lights, drawers of weird still life rigs, places to make a mess, and plenty of strong coffee. It’s a comfortable space to gather everyone necessary to the success of your shoot. I’m also happy to take it on the road as needed.

Shooting still life can be as slow and methodical as it can be bustling and explosive. I have the support resources to prepare and scale for any size project or production. We can assemble a team from a talented pool of specialized prop stylists, set designers, paper artists, nail artists and others that I’ve been fortunate to collaborate with.

Great images happen when all of the precise decisions made on set are carefully applied to the final output. Every shoot can be customized to include varying levels of client input through the retouching and editing process. All post production needs are met through a combination of in-house retouching and talented collaborators that I work closely with from capture through delivery.

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