Cinematographer and photographer. Miami.

I shoot commercials and brand work, music and editorial, and long-form: episodic, narrative and documentary. Documentary started when I moved to New York, and three of those I directed. Most of what I shoot has people in it who have to look like they mean it, which is the part I came up through.

I shoot motion and stills, and I hold them to the same standard. On motion I’m usually the director of photography: IBM, Abercrombie & Fitch, Clinique, West Elm. On stills: Givenchy, Bacardi, Capri Sun. When a job needs both, I shoot them off the same setups. One eye, both formats, and two campaigns from one shoot. How that works →

On a lot of jobs I direct as well, and sometimes carry it all the way through: direct, shoot, produce, and take it through post to the finished film. Lilly Pulitzer had me directing, shooting and doing the post on their seasonal films for five years. For plenty of clients that’s the point: one person instead of four vendors.

I also get booked onto other people’s sets with a deliverable of my own, stills beside their film or a second film beside the main one. I know before we start whether it’s social or advertising, because the two get shot differently.

Victoria’s Secret kept me on camera for four years, around the world, the only operator they kept on permanently, and I consulted on lighting throughout. If you’re a director of photography who needs an operator, that’s work I still take, and enjoy.