I am a commercial content creator, photographer, and videographer focused primarily on product-based advertising and marketing within the outdoor sport and cycling industries. I split my time between the studio and shooting on-location for action and lifestyle content. Based in Northern Colorado (Fort Collins specifically), I travel around the west and midwest US for projects including Utah, Wyoming, New Mexico, Arizona, California, Texas, and Arkansas.

Being able to provide world-class still photography AND motion/video is pretty unique. “But they’re basically the same thing!”… The truth is—at least when working on higher-end projects—almost everything is different. Incorporating motion and audio into a project is a totally different beast compared to still photography. A video shoot requires a contrasting mindset and parameters to plan for, including: location, talent, budget, end use, music/audio, voiceover script, lighting, lenses, camera, etc.

The equipment needed, while similar to still photography, is much more complicated and expensive for motion video. Different types of lights are required, camera stabilization from fluid head tripods and gimbals are required, an external monitor help visualize focus and composition, storage media for the hefty filesizes are required, and audio recording gets complex in a hurry as well.

Practically speaking, this means I often find myself shooting both mediums for a client project. For example, for a product launch I’ll often create hero still images of the product in the studio on plain background(s), create an alternate set of hero still images outdoors or in a scene to give the product context, shoot a set of action/lifestyle still images of the product in-use and to provide a human element to the campaign, and then also be shooting b-roll video footage of the hero product in it’s environment, being used, and lifestyle. Maybe record voiceover audio or have on-screen talent (i.e. “talking head”) give the product a story, and then combine all of that into a finished video and simultaneously cut the b-roll into a couple of social media sizzle videos.

I gravitate towards the outdoor industry because that’s where my personal passions are: mountain biking, gravel riding, rock climbing, camping, hiking, etc. This is not a hard rule though. I have produced stellar works in many other industries including: beer/beverage, corporate, scientific, higher education, insurance, mobile technology, consumer electronics, local business, and more. I’ve also photographed events ranging from pro sporting events including the Winter X-Games and Crankworx, to product press camps, editorial travel stories, and local competitions/races.

“Before your work, people used to tell me that our products looked surprisingly better in person than in our photos. Not anymore.” -Niner Bikes

Projects that I work on generally fall into one of these buckets:

  • Studio product photography: This can encompass everything from a product on a clean white background for e-commerce website use, to much more creative techniques including styled faux sets, fog, dramatic lighting, dark backgrounds, ghost mannequin or models for apparel, light painting, stop motion animation, etc. These types of images are usually highly retouched to create the perfect representation of the product.
  • Outdoor studio photography: “Outdoor studio” or “outdoor glamour” is a term I use to describe using studio strobes and techniques, but outdoors on-location to combine a higher-end, dramatic look with an outdoor environment. I use this often when photographing bikes, accessories, or apparel. Ideally natural light always works best, but often during scheduled shoot times, the weather isn’t cooperating—in the arid West, this usually means full, direct sun— or we want more control over the resulting image.
  • Outdoor action and lifestyle photography: Where the studio imagery is all about showing the product itself, the action and lifestyle imagery is all about showing the product in-use. This can be of a rider on a bike, modeling apparel at a trailhead, seeing a tool used in a shop—generally anything where we see the product in its natural environment. A lot of photographers who use wide angle and landscape-style where the person is generally smaller in the frame and the product may not even be recognizable. Much of the ad imagery I see in the outdoor industry is so vague that without a brand logo or ad copy, you wouldn’t even know what that ad is for. Is that an ad for that trail destination, for a helmet, for a bike, for a shoe? I take a different approach. By using long lenses and tighter composition, I try to make the product the hero of the image— and then mix in wider shots for setting the scene and providing context.
  • Product video and motion: This is a broad one, because generally anything I shoot still images of, I can also shoot video or motion assets of as well.  Video projects tend to need a lot of footage from various types of shooting. This can include: outdoor “action” and using the product, lifestyle and setting the scene, studio and close-up static b-roll of the product, and talking head narration. For example, for a product-based YouTube video like this one  I created for Niner Bikes, all of those elements would be combined, with the host narrating about the product while various b-roll elements are shown. Deliverables for video can be vast, from simple cinemagraphs (moving photos), to short social media clips and Instragram Reels, to longer form YouTube episode content.

Above all, I want my work to meet your brand’s goals and expectations, and ultimately, to move your brand forward in a positive way. If something doesn’t look right, or isn’t working for you, I want to fix it. I love to collaborate so that you feel involved and comfortable with the creative direction of the project. It’s also important in the process to experiment and take creative risks that can take a project to the next level.

Why Work With Me

With a degree in Imaging and Photographic Technology and 20+ years experience in photography and motion, I tend to let my portfolio do most of the talking. I have been in the trenches as a creative director, graphic designer, retoucher, production artist, web developer, packaging designer, illustrator, videographer AND photographer. Because of this, I have a very good understanding of the restrictions, potential problems, requirements, and desires you may have for your photo or video project.

That said, here’s some thoughts:

  • I prefer to work with clients that are interested in building a long-term working relationship. It’s very hard to continually search for new clients, and the more we work together, the stronger my work gets. I like to feel invested in the work I produce for you and the success of the brand.
  • My experience and style are my two biggest selling points. I’m a safe bet when you need high-end work, while still meeting deadlines and budgets. Let’s get down to it and create some amazing imagery.
  • I am a bit of a perfectionist and strive to get technical details, image coloration, lighting, etc. just right. I have a strong eye for detail and take immense pride in my workmanship. I enjoy creating that perfect image.
  • I work light and fast and pride myself on having the proper tool for the job to get high-end results quickly and effectively.
  • There will always be someone willing to do the job cheaper. That’s okay. If low cost is your #1 driver in selecting a creative, I’m probably not a good fit. This is not to say I’m incredibly expensive. I’m happy to talk budget and get creative  so that we’re both happy. I like to bring a ton of value to the table, just not at a cutthroat price. From a client-perspective, if you are getting a super low quote from another creative, there’s probably a reason. Doing great work in this industry takes experience, skill, and loads of expensive equipment and software tools. None of that is cheap.
  • I am a curated member of the Wonderful Machine network of photographers.

Pricing is often the hardest part of a project and generally includes: a creative or shoot fee, editing/processing time, usage/licensing, equipment usage/rental, and any expenses travel, expendables, talent/model fees, etc.

The creative fee can be based on the number of images to be created, video shooting time needed, post processing and editing time needed, estimated shoot length, project deadline, complexity, location, and other factors. Depending on project specifics and client-preference, I may price based on a day rate or a flat all-inclusive project amount.

For projects that have a very defined scope (e.g., 6 images of this item, in the studio, on white) I tend to prefer all-in project pricing. For more open-ended photo projects, or a project with many variables, per image or day-rate pricing can work well. Video tends to be more complex and with more variables (both in shooting and in editing) than still photography projects.

Depending on the project, a license/usage fee may also be needed, based on how the images or video will be used.

A project can be broken down into three core phases: planning and pre-production, the shoot itself, and post-processing/editing/retouching. Often, advanced image post-processing like retouching, compositing, or clipping paths are essential to polish an image and complete the original project vision. Same for video editing on motion projects. This phase is highly variable and can be more time-intensive than the shoot itself.

I have an arsenal of camera, audio, studio, and lighting equipment on-hand for just about any scenario. Big and small studio strobes, including battery packs for location shooting, all manner of light modifiers and grip, continuous lighting for video, gimbal for smooth shots, backpacks for getting out on-location, mics and audio recording equipment, and multiple camera bodies and lenses. I’ve done shoots all over the place: on a trail 20 miles from civilization, in a live manufacturing shop, out of the back of a moving car, and in a hotel conference room.

I like to keep communication and expectations on the up-and-up, and thus, as boring as it is, a signed agreement and 75% deposit is required before the start of a project, with the remaining 25% due on delivery. This is an important step to ensure that the project go smoothly, all angles are thought about, and everyone feels comfortable. The project balance must be paid in full before final delivery of project files and usage rights.


I have been lucky to work with a huge swath of clients, from little guys to massive corporations. Some big projects, some tiny.

  • Niner Bikes
  • Feedback Sports
  • American Classic
  • Dispatch Custom Cycling Components
  • Guerrilla Gravity
  • REEB Cycles
  • Batch Bicyles
  • VAAST Bikes
  • TecGnar
  • Outside Magazine
  • Paradigm Cycle Works
  • Yeti Cycles
  • DesFit
  • Colorado State University (CSU)
  • OtterBox
  • Ascent Studio Climbing + Fitness
  • Adidas Outdoor
  • Black Bottle Brewery
  • Liberty Firearms Institute
  • The State of Wyoming
  • Organic Climbing
  • Brinkman Partners
  • EPIC Insurance Brokers
  • The Center for Fine Art Photography (C4FAP)
  • Kodak
  • Warehouse 21
  • Rochester Institute of Technology (RIT)
  • Dynamic Lures