I’m trying to make work that feels honest and thoughtful without being unattainable or pretentious.
Photography gives me a reason to move through the world. It gets me outside. It makes me more social. It helps me see from different perspectives, and then decide which ones are worth keeping. That process feels like more than image-making. It’s a way of aligning with my nature, and sometimes discovering it.
There are things I come back to often: blue skies, beige walls, mannequins, stoic expressions, good light, clean framing. But I try not to get stuck in one mode for too long. I want my work to stay consistent while still evolving.
I avoid trends, and I try not to make derivative images. I think that comes from imposter syndrome. I also avoid photographing people who haven’t given consent. I believe a good portrait begins with willingness. Agreeing to be photographed is an act of vulnerability. I have a responsibility to handle that vulnerability with a great deal of care.
Photographs don't have to be great to be good. Sometimes it’s the restraint we exercise, or the rules we break, that turn a moment into something I want to return to.
I’m not trying to prove anything. I just want to share my perspective. If someone sees a connection, feels the contrast, or wants to start taking their own pictures, then the work is doing what it’s meant to do.
I shoot with a Sony full-frame mirrorless body and a collection of G-Master lenses. That said, I’m not interested in debating gear. I respect all formats. If it takes a picture, it’s valid.
Warm, neutral, and consistent. I lean a little filmic in how I handle color, texture, and grain. Not to mimic film, but to create something that holds together across different subjects.
Very much the same. I don’t sacrifice quality or authenticity in either. My love for taking and processing photos motivates me to show up with the same energy, whether or not I’m being paid.
If I’m out just to take pictures, I’m drawn to good light, clean compositions, and color harmony. The subject doesn’t matter much. Even a plate of meatloaf can look romantic in the right conditions.
I’ve loved taking pictures since I was a kid, but I started treating it seriously in 2020. I dove in full tilt, bought a nice camera, and took a lot of bad photos. Then a few okay ones. Then some I liked. I learned by watching videos, reading, and messing up. A lot of my creative inspiration comes from fashion, cinema, postcards, and both romantic and brutalist architecture.
That I was paying attention. That’s it, really.
