I work in portrait, product, and editorial photography for commercial clients. Both in-studio and out on-location, depending solely what the work needs. If it needs precise lighting and reliable delivery, that’s the conversation to have.

Yes. Interior and exterior shots built for MLS, twilight photography when the light calls for it, and floor plans or drone coverage when a listing needs them. Spaces need to be staged and camera-ready before I arrive. Turnaround is fast, usually a day or two from shoot to delivery. Get in touch with your listing details and I’ll go over what it needs.

You’ll get a proofing gallery to look through the full batch and pick your favorites from, or let me expedite those decisions for you. Basic compositional and color correction is included; heavier editing like HDR blending or removing background elements is available if a listing needs it.

Yes, studio product shots and lifestyle product photography both, see examples in the product portfolio. Pricing works like most commercial photography: a day rate for the shoot, then a license for the images you choose to use. What it actually runs depends on how many items and angles you need, file specs, and your deadline, so that’s worth a real conversation.

Studio work is clean and controlled, usually a plain background, built to show the product itself clearly. Lifestyle shots put the product in a real setting with models or a location, which means more moving parts (weather, permissions, scheduling) and a bigger lift to execute. Most brands use a mix of both, tell me about your product and I can help you figure out the right balance.

Yes. If you need images or footage built specifically for your brand rather than generic stock, that’s custom stock photography and video: shot to match your actual products, people, or spaces so it doesn’t look like everyone else’s stock library. Pre-production goes past logistics: we talk through what these images actually need to change, and what your last batch got wrong. I walk every client through a production outline covering exactly that once we’re talking specifics.

It starts with a conversation about what the work actually needs to do. From there I build out shot lists, logistics, and a lighting plan, then shoot, edit, and deliver through a private client gallery. The process is thorough because the alternative is reshooting.

I treat pre-production as seriously as the shoot itself: concept, mood, props, styling, a shot list mapped to brand standards, and real conversation about what’s true about the subject that the camera hasn’t caught yet. On-location work includes site scouting when the logistics warrant it. Catch the problems early and the shoot day runs clean.

I shoot with advanced lighting across strobe, tungsten, natural light, and mixed systems. That’s the kind of technical control that keeps imagery consistent whether it ends up on a product page, a trade publication, or a billboard.

The studio’s inside the North Coast Seed Studios building at 2127 N Albina Ave in Portland. Street parking is available, and the Albina/Mississippi MAX stop is one block away. I also shoot on location when the work calls for it, an office, a storefront, a spot outdoors that says something about the subject.

I retain copyright as the photographer, and you get a usage license for the images delivered, scoped to how you plan to use them. That’s standard practice, and it gets specified plainly in every contract so there’s no confusion later about what you can and can’t do with the files.

That depends on the session, but you’ll get a real set to choose from, not just one or two shots. Files come back through a private online gallery built for that job, where you can preview, download, and share directly. No FTP links, no hunting through email attachments.

Life happens. Let me know as soon as you can and I’ll work with you to find a new date. For outdoor sessions, I keep an eye on the forecast ahead of time, and I’d rather move a shoot than shoot it badly.

Solid colors over busy patterns, and bring more than one outfit if you want variety in the final images. I put together a full set of pre-shoot suggestions, wardrobe, grooming, what to expect at the studio, that’s worth a look before you show up.

Yes. A quick call or email before booking helps me understand what the work actually needs, a single portrait or a full commercial production, so we’re not guessing at scope once the shoot’s already on the calendar.

A few basics speed things up: your ideal date (or deadline if the date’s flexible), how many people need photos, your location preference (studio or on-site), and a ballpark budget or usage scope (web-only, print, ID cards, campaign use). Estimates are fine for all of it. Once we’ve got a shoot booked, I’ll also send over a quick preferences form so we can fine-tune the details before your session.

Law firms, real estate brokerages, healthcare practices, tech and startup teams, authors and speakers, models and actors, plus individuals who just need a current portrait. If a business needs professional photography, odds are I’ve shot something close to it before.

Every shoot starts with what the images actually need to do: sell a product, introduce a team, back up a pitch. I build the visual approach around that job rather than a fixed style. Technical precision and creative intent work together: lighting built for a specific image holds up across editorial, product, and billboard contexts without modification, so a shoot’s images hold together as a set instead of reading like scattered stock photos.

Commercial pricing runs on project scope rather than a flat rate. Usage rights, crew size, and deliverable count all move the number, and half-day and full-day rates are available for larger productions. Tell me what the project needs and I’ll give you a real number, not a placeholder range.

I run every project through the same post-production workflow: calibrated color grading, consistent file prep for whatever platform the images end up on, and an archive of every finished job. That’s what keeps a multi-person team shoot or a multi-location campaign looking like it came from one photographer instead of three.

Session length depends on scope. A single headshot session usually wraps up in under an hour, and a full commercial production can run a full day. Turnaround on edited images is five to seven business days for standard work, with expedited delivery available when a deadline calls for it.

20 years now, across portrait, product, and editorial work. I’ve kept this a boutique operation on purpose, so the person you talk to on the phone is the person behind the camera on shoot day.

Files stay archived after delivery, so if you need a re-download, a different crop, or an additional usage license down the road, I can pull the original files rather than starting over. For team and firm shoots, I also keep lighting and setup notes on file so a new hire added later can be matched to the same look without a full reshoot.

Retouching stays natural: stray hairs, blemishes, and distractions cleaned up, nothing that changes who you actually look like. If a job calls for heavier work, composite product retouching, for example, that gets scoped as its own conversation rather than assumed.

A headshot is built for a specific practical use, LinkedIn, a casting submission, a firm bio page, usually tight on the face and shoulders. A portrait gives more room to breathe: environment, mood, a fuller sense of who you are. Both start the same way, with a real conversation about how the image needs to work.

That’s most people, not an exception. The awkward, forced-smile look people dread almost always comes from being rushed through in under five minutes. Sessions with me run closer to 45, plenty of room for coaching on expression, angle, and posture until you actually relax in front of the camera. Most of the nerves come from not knowing what to expect, so between the pre-shoot suggestions and the preferences form, you’ll already know what’s coming before you show up. Nobody leaves without images they’re actually comfortable using.

Yes. Law firms, brokerage teams, medical practices, and agency staff all book group sessions with me, same lighting and backdrop for everyone so the whole set looks like it came from one sitting. See headshots for teams for how that works.

As soon as you have a date in mind. Some sessions book the same week, but if you’re working against a hard deadline, a launch, a conference, a print deadline, more lead time gives both of us more scheduling flexibility.

Most commercial and headshot work goes out in color, since that’s what platforms and print uses actually need. Black-and-white treatments are available on request for portrait and editorial work, where the mood calls for it.

Yes, the portfolio pages here show real client and personal work across portrait, product, and editorial photography. If you want to see something closer to your specific project or industry, ask and I can usually point you to something relevant.

Precise lighting, natural coaching, and images built to hold up wherever they end up, a website, a printed piece, a billboard. I’d rather get the technical side right and let the person or product be the actual subject than lean on a heavy editing style to carry the image.