I learned photography in a darkroom in eighth grade. By high school it was part of my graphic arts practice. By college, digital was emerging and I was already deep enough in the craft to understand what was being gained and what was being lost.

For years I worked as a fine art photographer, using the camera as a research tool — studying alternative and historical photographic processes, understanding light not as a technical variable but as the actual subject. That same curiosity led me to teaching History of Photography, Digital Photography, and Art History at the university level — where my focus is practical technique over academic theory, the same way I approach every shoot.

When I moved into commercial photography, I found my way to fashion. What drew me in wasn't the aesthetics — it was the collaboration. Fashion photography is a team sport. Designers, stylists, models, creative directors — everyone is working toward the same frame. After years of precise, solitary studio work, that energy felt right.

The close-up work came naturally from there. Faces. Expression. The specific moment when someone stops performing for the camera and just exists in front of it. That's what I'm always looking for, whether I'm shooting a lookbook or a corporate portrait.

Headshots became the professional expression of that same interest. The corporate world needs strong portraiture — it just calls it something else. I got good enough at it that Peter Hurley brought me into the Headshot Crew as a Mentor. I'm still an active member, running the marketing book club and contributing technical guidance to photographers who are earlier in their careers.

I'm based in Litchfield County, Connecticut. I shoot fashion in New York and throughout the region. For headshots, I work on location with executives, attorneys, physicians, and professional teams across Greater Hartford, Litchfield County, and beyond.

The process is calm, intentional, and built around your goals. That hasn't changed since the darkroom.