Headshots and portraits have become staples of my livelihood. There are countless photographers that work specifically in this niche, and so it’s difficult to stand out through the work alone.

What really makes a headshot/portrait session special, as cheesy as it may sound, is the experience you have with the photographer. If your photographer is stiff, spending too much time tinkering with settings, or simply awkward it is going to be uncomfortable— and the results will probably reflect that.

The object of a headshot/portrait is to capture the essence of a person so that on some level you can see them through the picture. It should give you an idea of who someone is without needing to read a caption.

Real Estate is another bread and butter category of photography that I regularly shoot. During COVID, it’s pretty much singlehandedly responsible for me being able to stay net positive financially.

My style of photography here has been dictated by my clientele: A natural look— as opposed to the uncomfortably perfect render-esc lighting that many photographers in this category use.

I shoot my real estate using a technique that I have perfected that wouldn’t be possible without today’s camera technology. I will not reveal my secrets, but if you hire me for this type of work and you happen to be on-site with me, perhaps you’ll be able to deduce the mystery of my efficiency.

Wedding and event work, at its core, is documentary photography. While there may be brief windows of time where people are posed and lighting is controlled, the true art of this category of photography is the skill involved in being able to capture a beautiful image which simultaneously gives context.

A job well done here is a body of work that can transport you to re-experiencing the emotions of the day if you were there— and if you were not there, being able to be emotionally transported to that day as others experienced it.

The beauty, and the challenge, of this type of work is being quick on your feet and technically knownledgeable enough to absolutely nail the moment in a visually pleasing way.

For me, shooting music is… well… fun! It’s not something that is consistently particularly lucrative, but it’s concentrated with powerful moments assisted usually by colorful lighting.

I try to bring a camera to shows, even when I’m not getting paid, because I take great satisfaction in capitalizing on the energy and stage lighting to get images that are of a variety that I don’t really get in other categories.

The best part of working with brands? It sounds great on your resume. The worst part of working with brands? NDAs. It sounds like a cop-out, but it’s true. The vast majority of the work I’ve done with brands has me contractually obligated to not share it.

I have worked on a plethora of rebrand campaigns, product photography, internal corporate photography and videography, all sorts of things. You can learn more about that on the “CV” section.

I am, a foodie. Much like a dog, I find it to be one of the most enjoyable and important parts of the human experience. I almost convinced myself to go to culinary school before I folded and went full-force into photography.

From time to time, I am asked to shoot food. Sometimes for fine dining, sometimes for a restaurant launch, sometimes for a DoorDash menu. Whatever gets me in front of food, I am usually happy about it. I would love to do more of this type of work, because it usually ends with me eating.

I have, surprisingly, been introduced to many chefs and culinary entrepreneurs on my adventures, and I feel a special kinship with them. They, much like myself and my peers, are so obsessed with what they do, that they simply cannot imagine doing anything else— even if they’re not getting paid very much for their labor.