Photography Specialties
I picked up a camera and found that many of best images involved at least one element below. Years later, I'm shooting from the same instincts I developed when I first began photography: catching what moves, what flickers, what nobody else in the room is paying attention to. Every shoot gets some combination of these elements, whether or not that's what you booked me for.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Movement
Dancers, performers, a crowd mid-song...those are subjects you can't stop and have pose. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught images with the blur in the background and the performers frozen sharp in front of it.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Microexpressions
I shoot high drive because the window is narrow: a shift in someone's face that lasts less than a second, gone before you'd think to ask for it again. I work from a distance, lenses that let me stay unseen. If someone notices me and tenses, I move on. If they notice and start posing, that's when I step in.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Small Details
I notice what a room is too busy to notice about itself: the hand caught mid-gesture, the sign nobody photographed, the person working the booth who's quietly holding the whole event together. At events especially, I catch the behind-the-scenes labor that organizers are too deep in the work to step back and see.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Candids
I earn my spot by moving quietly and quickly to where the shot is, staying honest about it when I need to get there. At the Jackson Ward Second Street Festival, I wasn't chasing poses. I was after Black joy, but not just that, Black being: people fully living inside a moment that was never going to happen the same way twice.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Celebratory
“Look at each other. Pretend I'm not here.” That's the whole direction, and it's usually enough. At one maternity shoot, the parents brought their two-year-old, and letting her be exactly as unpredictable as a two-year-old is turned the whole shoot into something real: a family completing itself, not performing for a camera.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Headshots
I have people frown and scrunch their whole face up tight, count to three, then smile. It's silly on purpose. It breaks the tension and earns their trust for everything after. My clients usually aren't the corporate-headshot type, they've got some funk to them, some edge, a career that doesn't look like everyone else's. Everyone deserves to look like they run their shit, whether or not their job feels that way yet.
Movement
Dancers, performers, a crowd mid-song, you can't predict that from a settings chart. My first drag show taught me that fast. I thought I knew movement from events and kids, drag performance was a whole other level. Once I relaxed and trusted the process, I caught the blur in the background and the performer frozen sharp in front of it.
Lightwork
I work both, flash and no flash, soft where it needed softening. I love shadows. I love catching the sun straight in a frame. People are scared of light. I just play with it. Sometimes the highlight is the picture, and sometimes it's the shape the shadow makes. I just have to capture it and see!