PERSONAL PHOTOGRAPHY / PORTRAIT STUDIES
LIFE
& LENS
PEOPLE, NOT POSES
Portrait experiments made with friends, improvised locations, and just enough planning to leave room for something real.
THE PROJECT
THE PROJECT
Not every project here was a booking. Some of the best photos I’ve ever taken happened because a friend was in town, or up for something a little weird, and I had a camera and an idea.
Not every project here was a booking. Some of the best photos I’ve ever taken happened because a friend was in town, or up for something a little weird, and I had a camera and an idea.
Not every project here was a booking. Some of the best photos I’ve ever taken happened because a friend was in town, or up for something a little weird, and I had a camera and an idea.
Personal photography — concept, location scouting, lighting, direction, shooting, and editing.
Personal photography — concept, location scouting, lighting, direction, shooting, and editing.
Whatever the friend and the evening called for. Sometimes that meant renting steel wool and finding a bridge with the right sightline; sometimes it meant walking into a field at golden hour with no plan at all. No two shoots here look alike, and that’s the point — this is the work with no client to please but myself.
Whatever the friend and the evening called for. Sometimes that meant renting steel wool and finding a bridge with the right sightline; sometimes it meant walking into a field at golden hour with no plan at all. No two shoots here look alike, and that’s the point — this is the work with no client to please but myself.
THE PHOTOGRAPHIC APPROACH
THE PHOTOGRAPHIC APPROACH
A FEW DOZEN FRAMES WORTH KEEPING, PULLED FROM YEARS OF SHOOTS THAT WERE REALLY JUST AN EXCUSE TO HANG OUT WITH FRIENDS AND MAKE SOMETHING.
A FEW DOZEN FRAMES WORTH KEEPING, PULLED FROM YEARS OF SHOOTS THAT WERE REALLY JUST AN EXCUSE TO HANG OUT WITH FRIENDS AND MAKE SOMETHING.
A FEW DOZEN FRAMES WORTH KEEPING, PULLED FROM YEARS OF SHOOTS THAT WERE REALLY JUST AN EXCUSE TO HANG OUT WITH FRIENDS AND MAKE SOMETHING.
A LOOSE BRIEF, A DELIBERATE EDIT
The setup changes. The attention does not.
The setup changes. The attention does not.
The setup changes. The attention does not.
Steel wool on a bridge, late light in an open field, a motorcycle after dark — every shoot called for a different technique. The throughline is a subject who still feels like a person, not a prop for the effect.
Steel wool on a bridge, late light in an open field, a motorcycle after dark — every shoot called for a different technique. The throughline is a subject who still feels like a person, not a prop for the effect.
PHOTOGRAPHER’S NOTE
People, not poses.
People, not poses.
SELECTED PORTRAITS
