About
This website is a 2026 work in progress collection of my photography, notes, and lived experiences with the medium. I have worked continuously with images, film, and print archives since the 1990s, and I explored my own photography practice since then as well. However I set aside personal picture making in 2014 to focus on family life and professional work.
Most of the portrait and still life work currently on view comes from my time in New York between 2005 and 2014. In the present moment of 2026 I am getting ready to continue my personal practice in these areas.
I primarily use two medium format film cameras I bought with a student discount program in 2004 at Samy's Camera in Santa Barbara, CA. These are the Mamiya RZ67 Pro II and the Contax 645 AF. A decade later I found a Rolleiflex T at a used camera store in Paris, France. I have also enjoyed using a Nikon F100 since 2001. In the mid 2010’s I began to use digital cameras for some work. I was recently given a Leica M to experiment with and some studio equipment from Hiro’s estate. What may be most significant to me is the gift of time with three mentors, their practices, and their archives.
After moving to Connecticut in 2012, my creative focus shifted to capturing the fleeting moments of my family’s young life. In 2020 I began exploring subjects of personal nostalgia, family history, and legacy.
Now in mid 2026, I am beginning to return to still life and portraiture photography with a renewed perspective.
These are a few notable moments of my photography timeline.
Connecticut childhood 1975 - 1990
Kenyon College, Ohio 1996-1998
Ski Magazine, website editor, Boulder, CO 1998-2001
Brooks Institute of Photography, Santa Barbara, CA, 2001–2004
Richard Avedon, New York, NY, 2003-2004
Hiro, New York, NY, 2004-2020
Parenthood, 2012-present
Richard Avedon Foundation, New York, NY, 2014-2016
Adobe Stock, New York, NY, 2015-2017
Wonderful Machine, consultant, 2018-2020
Ellen Graham, New York, NY, 2017-present
The following photographer’s work resonates with my sense of visual language.
Richard Avedon
Lillian Bassman
Alexey Brodovitch
Édouard Boubat
Julia Margaret Cameron
Michel Comte
Anton Corbijn
Ellen Graham
Hiro
Peter Lindbergh
Mary Ellen Mark
Sarah Moon
Martin Munkacsi
Félix Nadar
Irving Penn
Man Ray
John Rawlings
Alfred Stieglitz
Diego Uchitel
Edward Weston
We don’t get to choose the legacies we inherit, but we do have some choice in what we keep, adapt, and leave behind.
You can send a message to me here.
I work here.
These are for a future time.
From my earliest days photography resonated with me in 1980s Connecticut. First it was with Polaroid cameras, then black and white 35mm film cameras. Initially I used automatic cameras that set the aperture and shutter speed for me. My input was the subject, focus, crop, lighting, perspective, focal length, and film choice.
In my early teens I became drawn to visual story telling by making photo albums from my summer experiences. This led me to school yearbook and publication positions.
At Kenyon College I earned a BA in history while I contributed photographs, wrote, and edited for a school publication. The next fall I moved to Boulder, Colorado in 1998 and found a job editing the first website of SKI and SKIING magazines.
PDN, B&W Magazine, and my work peers gave me a window into the photography universe. This was several years before online courses and the final years of film photography's primacy.
After working for the online ski publication for three years I returned to school in the summer of 2001 to study photography and creative business at Brooks Institute of Photography.
The program in Santa Barbara, CA used 4×5 and 35mm color and black and white film for critiques by projection or dark room prints. Some assignments were simply with 4×5 camera and instant film. Results came from planning, lighting, and camera work. Digital capture, digital post, and pigment printing were integrated in the second and third year.
As a result of my interest and commitment I earned the Brooks first year student award and graduated with a BA magna cum laude. The esteemed family owned school was in its final years of peak operation before an unfortunate financial decline and closing in 2016.
In 2003 after interviewing with Richard Avedon’s studio and Irving Penn's studio I was offered an internship with Avedon (1923-2004) that led to a full time position. I worked in all areas of studio operations and photographic process.
A year later after Avedon died photographer Hiro (1930-2021) hired me to help with digital production and archiving. My role with Hiro expanded to all areas of the creative process for his advertising, editorial, and fine art projects. Film, digital, and all light sources integrated into his process. Critiqued printmaking and image editing were integral to both Avedon’s and Hiro’s work.
I went on to work with Hiro weekly for 15 years in various capacities until the 2020 covid pandemic. Gradually I began to work with other photographers, artists, companies, and foundations.
From 2014-2015 I had the unique experience of returning to work on Richard Avedon's archive at his legacy foundation ten years after his death. I alternated days of the week between work with Hiro and Avedon's foundation before the foundation closed for a location relocation.
In 2016 I took a freelance position as one of the first two image curators for Adobe's entry into stock photography that launched Adobe Stock in 2017. This time I alternated days of the week between Hiro and Adobe.
After my contract ended at Adobe in 2017 Wonderful Machine hired me to remotely consult their photographers’ portfolios. This was also the moment when I began consulting professional photographers under my own business. All the while Hiro's projects were a consistent part of my weeks.
In 2017 I began helping portrait photographer Ellen Graham (b.1929) inventory her fine art photography prints. She worked editorially with 35mm and 6×6cm film and natural modified light. Gelatin silver fine art printing became important in her later years. I help her with all areas of her legacy building work.
After moving from Greenwich Village NYC to Connecticut in 2012 the focus of my photographic activities shifted to capturing the fleeting moments of my family’s young life. In 2020 I began exploring subjects of personal nostalgia, family history, and legacy. Now in 2026 I am beginning to return to still life and portraiture photography with a renewed perspective. My professional work with Ellen Graham’s film archive and artist organizations also continues to inspire me.