A hotel pool deck photographed straight down from the air, loungers ranked along both long sides and clipped hedges squaring off the ends, dark green harbour water across the top of the frame
Washington DC · New York

Commercial and brand photographer in Washington DC

I make commercial pictures that carry a brand past the scroll and onto the wall, the menu, the campaign. Product, hospitality, food and the big idea, photographed with a film-inspired editorial eye from a base in Washington DC.

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Made for the brief, built to work

I photograph commercial and brand work across Washington DC and New York, and the assignments rarely look alike. A product laid clean on seamless, a hospitality suite lit the way a guest will actually see it, a plate styled to read on a menu, a campaign built frame by frame around one idea. I have made images for Saks Fifth Avenue Club at Pendry Baltimore, for Takamura, and for Charm City Co, and every job starts with the same plain question: what does this picture need to do once the shoot is over.

Directly overhead: a long pool between two ranks of loungers, planting and cabanas framing it, the water of the harbour along the top edgeFrom out on the water, the low waterfront building with its pool and rows of loungers, city rooftops behind, two paddleboarders crossing the foregroundThe headset three-quarters on against white, dark curved glass front and brushed silver frame

A documentary eye on a commercial floor

My roots are in weddings and editorial, so I bring a documentary instinct to rooms that tend to be over-lit and over-directed. I watch for the real gesture, the light falling a certain way through a hotel window, the texture a product actually has in the hand. The finish is film-inspired, warm and a little moody, closer to a magazine spread than a catalog page. That look travels from a city rooftop to a tasting counter to a brand activation without losing the thread, because the aim never changes, to make someone feel something before they read a word.

Scope, usage and licensing, in plain terms

Commercial work lives on the details around it, so I keep them clear. Every project is scoped and quoted on its own terms, with deliverables, timeline and usage agreed before the camera comes out, and licensing written in language you can actually read. Whether you are a founder chasing a single hero image or an agency planning a full campaign across Washington DC, we start from what the pictures are for and work backward to the day. Send me the brief, or just the idea, and I will tell you how I would shoot it.

Close on the knitted head strap of a mixed-reality headset, its orange pull tab bright against the pale grey weaveThe knitted grey head strap standing on its own on a white surface, throwing a hard shadowA Japanese chef's knife laid point up on red felt, hammered damascus blade and a black riveted handleClose on the same blade: the dimpled hammer finish and the maker's characters stamped into the steelTwo people sitting cross-legged on paddleboards in the pool with both arms stretched overheadA bearded man in blue and a blonde woman in a printed tank sitting cross-legged on their boards, both laughing at the camera