Are we losing something? I spent a few hours today scanning some old color slides. I brought them into Lightroom and slowly looked through them. Many weren’t sharp. Some had people with limbs cut off. The color casts from those old film days? Let’s just say “questionable.” And yet… I kept looking. It got me thinking about this idea of perfection—and how obsessed we’ve all become with it. More megapixels. Tack-sharp images. No distractions. And of course… noise. God forbid w

Photographing a feeling, not a place.

There’s something timeless about monochrome photography. Without color, the image leans fully on contrast, texture, and light. Shadows become intentional. Lines feel sharper. Emotion isn’t decorated—it’s exposed. Lisbon after dark While working on my next photo book from Portugal, I came across a series of images I made at night in Lisbon. I’d intentionally limited myself to a 35mm prime lens and set the camera to black and white before I ever pressed the shutter Stillness il

...doesn't mean it's not beautiful! While visiting the Isle of Lewis and Harris in Scotland, we explored abandoned homes and structures—places long past their usefulness. I’m drawn to spaces like these not just for the stories they hint at, but for their quiet, unexpected beauty. I don’t imagine many people hanging a photograph of a rusted paint can on their wall… although maybe you would. Look at the colors. The textures. The layers of time. Someone once opened that can, cho

I collect images on Pinterest that grab me. Sometimes it’s the subject, but most of the time it’s the feel  of the photo. When I scroll back through what I’ve saved, there’s definitely a pattern. Apparently, I have a type. Yesterday, I decided to experiment with AI. I copied an image from Pinterest—one that really spoke to me—and paired it with one of my own photos. I asked her (yes, my ChatGPT is a lady) to apply the same look and feel to my image. This is the image I found

“I’m often asked what kind of photography I shoot, and I usually pause—because the honest answer doesn’t fit neatly into a category.”  But the better question—the one that actually matters—is why .  I don’t chase dramatic moments. I don’t hunt for expressions or wait for something “big” to happen. I’ve never been particularly interested in photographing people just to photograph people. If someone walks into my frame, it’s usually because they belong there—not because I went