Commercial photography is a broad category that involves creating images for other businesses for use in advertising and marketing. It can encompass a wide range of types, subjects, and industries.

For me, this generally means some form of product-based photography or videography, whether that is in the studio or lifestyle or action shoots on-location. I tend to gravitate towards the outdoor industry because that’s where my personal passions lay: mountain biking, rock climbing, camping, hiking, etc. This is not a limitation or rule though. I have produced stellar works in many other industries including: beer/beverage, corporate, insurance, mobile technology, electronics, local business, and more. I’ve also photographed events ranging from pro sporting events including the Winter X-Games and Crankworx, to product launch camps and local competitions and races.

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

I want my work to meet your 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 know. I love to collaborate with my clients 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 experimentation is what can take a project to the next level.

The state of professional photography is a mixed bag these days. Not everyone who owns a decent camera is a professional. I don’t believe in hiring the cheapest person you can find to do a “good enough” job. I focus on the world-class quality of my work and the value of the experience and skill I bring to any project. Competing to see who can do something the cheapest is a red flag that quality is not important.

Why Work With Me

I have 20+ years experience in photography and videography and 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 only work with clients that I believe in and am interested in supporting outside of the job. I like to feel invested in the work I produce for you, and rep your product and brand.
  • 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 my work only gets stronger for you the more we work together and our visions align.
  • 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. No nonsense. Let’s get down to it and create some amazing imagery.
  • I have a strong sense of detail and pride in my workmanship. I enjoy creating that perfect image. I’m proud of the time and quality I invest in a project and prefer to use my experience, capability, and vision to create high-end results for a reasonable cost. If you’re interested in quick-n-dirty projects on a low budget, I’m probably not a good fit.
  • 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 in how we figure out how to work together so that we’re both happy. I like to bring a ton of value to the table, just not at a cutthroat price. Photo and video work at this level is incredibly deep in terms of the equipment, software, and knowledge required.

I have an arsenal of camera, studio, and lighting equipment on-hand for just about any scenario. For everything else, we can rent! 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 the trail, 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.

A lot of my work is outdoors, and for that, I’ve got portable equipment that I pack in a backpack and can jump on a bike to ride with everyone.

Pricing is often the hardest part of a project. 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, I may price based on a day rate, per image, per hour, per minute of finished video, 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 per hour/day pricing can work well. Video tends to be more complex and with more variables (both in shooting and in editing) than still photography projects—so I typically prefer charging hourly for those projects.

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

Normally, a shoot can be broken down into three core phases: planning/prep, the shoot itself, and post-processing/editing. Often, advanced image post-processing like retouching, compositing, or clipping paths are essential to polish an image and complete the original project vision. This phase is highly variable and can be just as time-intensive as the shoot itself. Same for video editing.

  • Basic image processing for stills (white balance, brightness, color accuracy)
  • Fully cut and edited video
  • Digital image capture (45mp for stills; 1080P / 4K for video, 8K possible)
  • Output of proofing images/videos for review and approval
  • Output and upload of final deliverable files to online gallery


Potential Add-ons

  • Higher resolutions for still or video
  • Image retouching, composites, clipping
  • Studio rental
  • Lighting and equipment usage/rental
  • Image licensing and usage
  • Camera equipment and lens usage/rental
  • Set design, construction, props
  • Expendables like backdrop paper and studio supplies
  • Travel, meals, parking
  • Models, assistants, stylists

I like to keep communication and expectations on the up-and-up, and thus, as boring as it is, a signed agreement and deposit is typically required before the start of a project. The project balance must be paid in full before final delivery of the project files and before any usage rights transfers are complete.


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
  • Dispatch Custom Cycling Components
  • Guerrilla Gravity
  • REEB Cycles
  • 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
  • Marsh Insurance Brokers
  • Integro Insurance Brokers
  • The Center for Fine Art Photography (C4FAP)
  • Kodak
  • Warehouse Twenty One
  • Rochester Institute of Technology (RIT)
  • Dynamic Lures
  • Performance Design Products (PDP)