I've lived in Florida all my life. I know Florida the way Floridians know it; we have a secret understanding, a secret love of what it really is.  I've recently moved to Texas and I know that same secret understanding must exist here, for this place.  It's easy to draw inspiration from a place when you grew up with sandspurs(stickerburs) in your feet, drunk on strawberry wine by ancient springs, when you've driven down both coasts so many times, dropped your soul in the water and felt alive and dead altogether at the same time, and fought fought fought just to vote and live, and to hopefully create something beautiful and memorable before you really are dead.  That's an awfully short sentence to describe the last decade, but hopefully you get the idea. 

I was an art student at a small college in Central Florida, studying metalworking and jewelry design. I'm really glad I didn't finish college; I'd probably be in crippling debt if I had.  I took the classes I connected with, the classes my art needed, and I dropped out. I presented my jewelry in fashion shows with some project runway contestants, sold my work around the state in shows and markets. It was a fun way to spend my mid-20's. I needed photos of the work I was generating, for social media, my online store, features and editorials local publications.  And back then, if something needed to be done I did it myself.  I learned how, and I did it.

I'd actually always had a camera, as far back as I can remember.  My grandfather did stock photography, and we were a Nikon family. My first SLR was an N6006.  I took darkroom classes at summer camps and in high school. I already so was well acquainted with the concepts when I took my first digital photography class in college I nearly failed.  But when I needed to start building the skill in order to further my goals in jewelry, it clicked. I had some crucial help from photographer in New Zealand around that time, and even though I was doing gigs, I still kinda sucked. But I kept it up, and in 2018 something miraculous happened; I got good.

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There are some concepts I always fall back on in my creative work, the dichotomy of natural vs manmade, Florida scenes, stories about creative individuals.  But for me, it's always and excuse to play with light, experiment with it. Once you see it a certain way, you see it that way everywhere you go.  That's what I love about product still-life. It's just you and the lights, and the gradients you create, your concepts, exploration, experimentation.  There's no performing for anyone; you don't have play the part of a photographer. With product still-life you simply 'do' photography, and I think that's marvelous.

But it gets lonely, just you and the light, and I love people, I love their stories, and telling them. As a wedding photographer I get to look through a tiny window, into another person's life, or the life of an entire family. It's about connection, and discovery, it's about being part of something and it's about feeling; so much feeling.  You have to feel your way through every album. I hear this music every time I edit a wedding- if you've ever edited a wedding you'll know how delirious you get. You have to feel the moments too, and you have to produce something that evokes those emotions so the viewer relives their experiences.  I know that if I'm not hearing that music, I'm not doing it right.

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Fun Facts:
I drink gallons of lacroix as I edit.  It's my focus juice.  I don't know why.  
I'm gay!  And I have a whole wedding photography brand dedicated to inclusivity and queer love.  Greyfoxbridal.com
I'm married to a handsome scientist who's researching cures for cancer and alzheimer's. He hates being in front of the camera.
We have two dogs, Orange Dog and Potato. They're good bois.