A Great Image Contains Three Things
Getting all three of these elements is my goal, whether it’s a wedding, elopement, or family photo session. As a documentary photographer, I gravitate to moments that show emotion and human connection. I like where beauty and authentic moments intersect to make a timeless photo that will take you instantly back in time.
I use small, discrete cameras that allow me to blend in looking for those lively, beautiful moments to freeze in time. Moments and details that tell a story and pictures that make people feel something when they see them.
Playing in the Sierra light is what we’ll do. I take careful consideration to when the best light will be and plan accordingly. When the natural light becomes less desirable or when there’s very little light at all, I’ll pull out the flashes and light modifiers to get interesting effects. Making good photographs is a collaborative experience and documenting the strong ethereal moments of love is my main goal.
Despite an emphasis on documentary style photography—especially for weddings—I also like to place a couple or family in a beautiful landscape with light spilling over the Sierra Crest and into Mammoth Lakes, June Lakes, or the Owens Valley. It’s landscape photography with a human touch. In these moments I may give you some guidance with poses. My favorite, most productive time for this happens between one hour before sunset (“Golden Hour”) and one hour (“Blue Hour”) after the sun has set.
I’m a dedicated Fujifilm photographer, using mostly prime lenses—which are best for low light situations. Coming from a film, manual camera background, I’ve found Fujifilm to be more my organic style and give a look that is less “digital.” And with their excellent film simulations I spend far less time in post-production getting the look that matches the feeling, tone, and vibe of a wedding or family.
Added bonus: Because the cameras aren’t as big and obtrusive as some other brands, I find that people don’t freeze up and go into “I’m having my picture taken” mode, flashing me a fake smile.
Sitting in front of a computer isn’t good for your body or soul. So I try to get most of the work (and let’s face it, play) done in the camera with good quality natural light and flash. I don’t use presets, preferring the subject’s mood and atmosphere to guide me in the editing process. This also allows me to get pictures out to my clients fast. For weddings I try to beat all the smart phone cameras (if you have a plugged in rather than an unplugged wedding—I’ll suggest the latter) to the social medias. My couples and families always tell me how pleasantly surprised they are at how fast they get their initial images without sacrificing quality.