HOW, WHY, AND WHEN I CHOOSE TO CAPTURE MOMENTS

This section is going to be a bit of a long read, but if you're looking to get to know me as a photographer, it's worth the read! Photography is very important to me, and I'd like to share with you the ins and outs of how I, as a professional and artist, do my job.

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HOW I GET MY LOOK

I shoot almost entirely on celluloid film. Film is over a century old, whereas digital technology is barely out of its teenaged years. Even today, digital technology constantly works to emulate the look of film, on which the "timeless" aesthetic originated and persists.

Film is beautiful and captures everything with a texture and feeling that digital doesn't quite have. Something about the images coming from a physical medium instills every frame with a sort of magic. There's a reason that a lot of the world's top photographers (and directors!) never stopped using it, even as digital rose to the standard. I discovered film years into my photography career, but once I was hooked, I couldn't stop shooting it. Now it makes up almost all of my work.

 

I never disparage digital, however: its convenience is unmatched, and my workflow wouldn't be the same without it. However, film is always at the forefront of my style

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POSED VS CANDID

I love posed portraits. They're beautiful and have a very editorial look, and sometimes you can't even tell they're posed. But even when I'm posing portraits, I'm always looking for the in-between moments in my subjects. The poses are where I capture that magazine look, but the little bits in between are where I capture the genuine stuff. Even when I'm carefully directing a scene, I'm always looking for these human interactions. I know how to pose a portrait, but more importantly, I know how to capture a candid. 

I love posed portraits. They're beautiful and have a very editorial look, and sometimes you can't even tell they're posed. But even when I'm posing portraits, I'm always looking for the in-between moments in my subjects. The poses are where I capture that magazine look, but the little bits in between are where I capture the genuine stuff. Even when I'm carefully directing a scene, I'm always looking for these human interactions. I know how to pose a portrait, but more importantly, I know how to capture a candid. 

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