I've spent over two decades photographing beauty, fashion, and brand campaigns in New York City, starting as an editorial photographer at Women's Wear Daily and W Magazine and working since with brands including Giorgio Armani, Donna Karan, L'Oréal, Johnson & Johnson, and Bloomingdale's.
That's not a resume line. It's the reason a shoot with me runs the way it does.
I've been on enough sets, solved enough problems in real time, and worked with enough art directors to know what actually makes a campaign image work—not just what looks good in the moment. Twenty-six years in this industry means I've already made the mistakes so you don't have to.
I trained at the School of Visual Arts, and I now teach the next generation of photographers at the International Center of Photography and the Fashion Institute of Technology. Teaching keeps me sharp. It forces me to articulate why an image works, not just chase instinct, and that discipline shows up in every shoot I run.
My approach is simple. I build sets that are warm, focused, and collaborative, because the best images come from people who feel comfortable in front of the camera. I care about the details that make a shoot successful—from creative direction and lighting to casting, production, and the way people experience being photographed.
I've watched a portrait client see her finished images and cry, not because the lighting was perfect, but because for the first time she recognized herself. That's the work I care about, whether I'm photographing a fashion campaign, a beauty brand, or a corporate portrait.
The goal isn't simply to make beautiful images. It's to create photography that supports the bigger picture—helping brands communicate clearly, connect with their audience, and show up with confidence.
If you're a brand planning a campaign, or an individual who wants to be seen the way you really are, I'd like to talk.