THE EXPERIENCE.
A session with me isn’t about getting it perfect. It’s about leaving performance behind.
We move with intention. Conversation gives way to silence, stillness to movement. I offer direction when it supports the image, and I step back when something honest is unfolding. I’m attuned to what’s emerging — the way light meets skin, the subtlety of a gesture, the emotional current shaping the moment.
WORKING ON FILM.
I photograph exclusively on film because it asks for presence. There is no instant feedback, no pressure to review or correct in real time. Film allows us to stay connected — to each other and to the experience itself.
The result is imagery that feels tactile and timeless. Imperfect. Human.
WHAT A SESSION FEELS LIKE.
Sessions with me are not designed to feel one particular way.
Some are quiet and inward.
Some are expansive, exhilarating, even raw.
Others are full of movement, interruption, laughter, and the kind of beautiful chaos that comes with real life.
An intimate or nude portrait session may feel exposing in the best way — a release, a reclaiming.
A family session might feel unstructured and alive, layered with noise, touch, and tenderness.
Remote sessions are slower and more intentional, shaped through conversation, collaboration, and shared imagination.
What they all share is a balance of documentary and editorial — a space where real moments are honored, but held with intention. I’m not interested in directing you into a version of yourself. I’m interested in responding to what’s already there.
Clients often arrive unsure of what to expect. They leave having experienced something honest — not because it was calm or controlled, but because it was true to them.
The feeling shifts.
The approach adapts.
The presence remains.
COLLABORATION AND TRUST.
This work is collaborative, but not improvised.
Some sessions begin with a loose concept or emotional thread — a mood, a question, a way of seeing. Others are entirely documentary, shaped by whatever unfolds in front of us. I move fluidly between the two, responding in real time to what the moment asks for.
I offer direction when it serves the work — a shift in light, a gesture, a way of occupying space — and I step back when presence matters more than instruction. My role is not to impose a version of you, but to recognize when something honest is happening and give it room to exist.
Trust is essential here — not because the process is hands-off, but because it is responsive. We’re paying attention together.
EXPOSING THE IMAGE.
After the session, the work continues.
Each roll of film is developed and processed with care, honoring the physical nature of the medium. I scan and digitize the images myself, paying close attention to tone, texture, and color — allowing the material qualities of film to remain present rather than polished away.
From there, I curate intentionally. I’m not looking to show everything; I’m looking to shape a narrative. The final selection reflects both the emotional rhythm of the session and the quieter moments that often reveal themselves later.
What you receive is not just a set of photographs, but a considered body of work — images developed, processed, and chosen with restraint and purpose.
A NOTE ON INTENTION.
This work is slow by design.
It resists immediacy in favor of depth, and volume in favor of meaning. I’m interested in images that hold up over time — photographs that reveal more the longer you live with them.
If you’re drawn to work that is thoughtful, tactile, and emotionally layered, this process will likely resonate. These photographs are not meant to perform. They’re meant to stay.