The Work
From Boardrooms to Backroads
This studio sits in a mountain valley where trends don’t reach and algorithms don’t apply. It was built for craft, not content. For ideas with weight. For work that lingers.
I spent years shaping brands as an art director, creative director, and agency partner. We won the awards—The One Show, the Emmys, Clios, Communication Arts, Graphis, and the rest of the shelf candy. But eventually, I traded the boardroom for the backcountry and reset the compass.
Now the work comes from a different place. Slower. Wilder. More intentional.
I create imagery with meaning, not marketing fluff. Whether it’s a product, a place, or a brand with something real to say, I bring the same eye and discipline to every project.
This isn’t for everyone. But if you want work with soul and staying power, you’re in the right place.
Projects
Safe hands make soft work.
I grew up a latchkey kid in the ’70s, in a small cowboy town where outside was the real education, and supervision never made it past the fence. Evel Knievel on the screen. AM radio bleeding out of pickup trucks. Shotguns on our shoulders. Long days of fence-hopping and busted knuckles, learning consequences the hard way. No helmets. No guardrails. Nobody was curating childhood back then. That early mix of freedom and fallout taught me life was more interesting when the seat belts were off.
Those lessons still run the work. I create with intent, with little patience for games, and no interest in marketing theater or ideas that need constant reassurance. The work should stand on its own. That’s the standard I work from.
Projects
Safe hands make soft work.
I grew up a latchkey kid in the ’70s, in a small cowboy town where outside was the real education, and supervision never made it past the fence. Evel Knievel on the screen. AM radio bleeding out of pickup trucks. Shotguns on our shoulders. Long days of fence-hopping and busted knuckles, learning consequences the hard way. No helmets. No guardrails. Nobody was curating childhood back then. That early mix of freedom and fallout taught me life was more interesting when the seat belts were off.
Those lessons still run the work. I create with intent, with little patience for games, and no interest in marketing theater or ideas that need constant reassurance. The work should stand on its own. That’s the standard I work from.
What I do
I shoot. I direct. I design. And I do it all with a clear eye and a strong point of view.
This studio isn’t limited by medium—what matters is the idea, the execution, and whether it holds up under pressure. Some clients bring me on for photography. Others need brand strategy, design systems, or art direction across a campaign. Sometimes, it’s all of the above.
From infamous ski towns to healthcare giants, Olympic stages to outdoor brands, I’ve built stories for names everyone knows—and names you should.
Whatever the scale, whatever the brief, the goal stays the same: make it sharp, make it honest, and make it last.
Capabilities include:
• Photography (commercial, editorial, product, lifestyle)
• Creative Direction
• Brand Identity & Design
• Art Direction for Campaigns
• Visual Storytelling / Brand Strategy
• Production Oversight & Collaboration
Why me?
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I listen—carefully, and without ego.
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I’ve spent 30+ years shaping brands that last.
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I care more about your message than my aesthetic.
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I bring clarity to chaos—and calm to high-stakes moments.
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I ask the right questions. Then I deliver the right work.
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I understand strategy as much as I understand craft.
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I work like the deadline’s real—because it is.
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And I don’t need to be the loudest in the room to make the work stand out.
Winkler Knives
Photographing high-performance edged tools is about more than just appearance—it’s about capturing the precision, craftsmanship, and purpose behind each blade. These tools are built to perform, trusted by those who rely on them in critical moments.
In addition to photography, I concept, write, and art direct. Scroll, and you’ll see samples of these skills in ad form, where I bring all these elements together.
Date
5/2/24
Client
Luxury Fashion Brand
Category
Architecture
Camera
Fujifilm GFX 100
Lens
35mm f/1.4 ART
Triumph Motorcycles
Triumph Motorcycles is a brand built on heritage, performance, and unmistakable style. With a legacy dating back to 1902, Triumph has become synonymous with speed, adventure, and classic British engineering. Capturing these machines requires more than just a camera—it takes an understanding of their history, the raw power they embody, and the lifestyle they represent.
Date
Client
Category
Fashion
Camera
Lens
LeTech / Ineos Grenadier
The Ineos Grenadier may look familiar, but it’s anything but ordinary. Born from a bet in a British pub, this rugged machine was built from the ground up with adventure in mind. By early 2024, it had made its way to the U.S., and my assignment? To capture it in its element—navigating the wild, untamed landscapes of the American West.
Date
1/6/25
Client
Tech Startup
Category
Landscape
Camera
Canon EOS R5
Lens
70-200mm f/2.8 VR II
KUHL
We spent a day in the mountains filming and photographing—no big production, no circus, just moving with the light and the terrain. The kind of day where the weather shifts every hour and the landscape does most of the directing for you. We shot what was in front of us, kept things simple, and let the place do the heavy lifting. Sometimes that’s all it takes.
Date
Client
Category
Fashion
Camera
Lens
Hardy 1912 Perfect Fly Reel
The Hardy 1912 Perfect fly fishing reel — a modern reel built to an age-old design that’s stood the test of time. I wanted to capture the balance between heritage and craft: a piece of equipment that connects today’s anglers with over a century of tradition. Even after a hundred years in the wild, the design remains as refined and functional as ever.
Date
Client
Category
Product
Camera
Lens
The Last Code Talker
At 15, Peter MacDonald told the recruiter he was older so he could serve his country. He became a Navajo Code Talker—one of the voices that carried unbreakable messages across the Pacific. Now, one of two living Code Talkers, he continues to tell their story and honor the language that helped win a war.
Date
Client
Category
Camera
Lens
Tatton Baird Hatters
Taton Baird Hatters keeps the art of traditional hat-making alive, crafting custom hats just as it was done in the 1800s. Using the same tools, molds, and time-honored methods, they create pieces that blend heritage with craftsmanship. Their work has even made its way onto the screen, with hats featured in Western films and TV series like Yellowstone.
Date
Client
Category
Product
Camera
Lens
Warriors Rugby
Filming the Warriors meant working inside a day that never really slowed down. Players coming and going, schedules shifting, windows opening and closing—we had to thread ourselves through it and still produce both stills and video that felt intentional. We staged the scenes and shaped the light, but kept the pace fast to match their day. The aim wasn’t total control—just enough structure to land the shots and enough flexibility to follow what unfolded.
Date
Client
Category
Fashion
Camera
Lens
Diné
My photography of the Diné—"the people" in their own language—comes from a deep respect for their culture, their stories, and the land they’ve called home for generations. The Four Corners region has a unique beauty and spirit that I’ve grown to love, and I try to share that through the images I create.
Date
Client
Category
Landscape
Camera
Lens
Motion
For more than 30 years, I’ve concepted, art directed, creative directed, and directed video content of every shape—TV spots, pre-roll, interviews, and short documentaries. From big-budget campaigns to intimate brand films, I’ve built stories for clients across every format. Here are a few samples.
Date
Client
Category
Product
Camera
Lens