The subjects and visual languages that define my work, and why they matter to how I see the world.
The work I do spans more than one genre, but the thread running through all of it is straightforward: I shoot what matters to the people who ask. Whether that is a family reunion, a product line, a place, or a story unfolding in real time, I am looking for the moment where the subject shows itself clearly — not posed, not styled, but honest. That kind of work requires gear that does not get in the way, and after years of renting and testing equipment, I have learned which tools work and which ones waste your time.
Good gear matters, but only if you actually understand it. A camera is a tool, not a personality, and the person behind it is what decides what you see.
I work with professionals and with people who have never shot anything before, and I know both sides of that divide matter. That is why I have built my recommendations around one principle: use what actually fits your situation, not what the industry tells you that you ought to own.
Most people ask me the same handful of things when they are just starting or when they want to move to a new kind of work. Here are the questions I get most often, in order from shortest to most nuanced.
Not all camera types serve the same purpose. This table shows where each one shines and where it struggles, so you can match the tool to the work.
| Camera Type | Strengths | Where It Struggles | Best For |
|---|---|---|---|
| Mirrorless (Full Frame) | Fast autofocus, compact with good lenses, excellent in low light, real-time exposure preview | Shorter battery life, smaller lens ecosystem than DSLR (though this gap is closing) | Professional portrait, video, fast-moving subjects, travel |
| DSLR (Full Frame) | Proven reliability, huge used market, long battery life, extensive lens options | Heavier, optical viewfinder can be slower to judge focus, older autofocus systems | Wedding photography, studio work, anyone with existing lenses |
| APS-C (Either) | Lower cost, lighter than full frame, good enough for most work, faster performance per dollar | Smaller sensor means slightly worse dynamic range and high-ISO performance | Hobbyists, travel, anyone building their first real kit |
| Film (35mm) | Teaches you light and composition through forced discipline, unique aesthetic, mechanical simplicity | Ongoing film and processing costs, learning curve steeper, no instant feedback | Photographers committed to craft, fine art, those wanting to slow down |
If you are ready to move beyond your phone or a borrowed camera, the next step is not to buy immediately. Rent instead. Spend a weekend or a week with the body and lenses you think you want, in the work you actually do. If it feels right after that time, you know what to buy. If it does not, you have learned something for the price of a rental and saved yourself hundreds or thousands of dollars on a camera that would have sat unused.
The camera body is the least important part of your gear after the first six months. The lenses you buy will outlast three camera bodies. Invest in glass, not plastic. A 50mm f/1.8 on any modern body will teach you more than a premium camera body with a kit lens. Start simple, add thoughtfully.
You cannot shoot sharp handheld in dim light, and every serious photographer works with support. A basic tripod solves more problems than the difference between two camera bodies. When you are trying a new technique — macro, landscape at dawn, or long exposures — support is not optional. Get one you trust early.
You learn more from a 6x9 print than from a thousand pixels on a screen. The scale, the colour, the paper texture — they all show you what your eye missed. Most photographers I know had a turning point when they finally printed work large. Seeing your work in the real world, not on a monitor, is when you really understand what you shoot.