ADS DON’T HAVE TO SELL YOU OUT
i make commercial work that still means something. motion, campaigns, brand films — built for companies who want to move people, not just move product. the craft is the same care I bring to everything: real stories, honest images, nothing made for rapid consumption. here's some of that work, and the brands who wanted it that way.
APPLE
APPLE WAS SHOOTING MOTION AND STILLS FOR A CAMPAIGN WITH ZACH KING. I HAD NO IDEA WHO HE WAS, BUT HIS WORK EASILY LENT ITSELF TO CREATING GIFS THAT CHARMED PEOPLE.
MOTOROLA
THIS WAS A SPEC JOB THAT ENDED UP GETTING PURCHASED AND LED TO ANOTHER MAJOR CAMPAIGN. IT WAS A GROUP OF REAL FRIENDS JUST BEING THEMSELVES, WHICH RESULTED IN MORE COMPELLING AND MEANINGFUL IMAGES.
LEVI”S KIDS
THIS WAS A FOUR-DAY SHOOT WITH KIDS. IF YOU SHOOT KIDS, YOU KNOW THE LABOR THAT GOES INTO CREATING SPACES WHERE THEY CAN BE THEMSELVES, AND HOW MOVING IT IS TO CAPTURE THAT WITHOUT ANY OF THE PERFORMANCE. KIDS JUST GETTING TO BE THEMSELVES IS ENOUGH.
AMAZON
BEFORE I BEGAN FOCUSING ON BRANDS WHOSE VALUES ALIGN WITH MY OWN, WE DID A LARGE DEVICE CAMPAIGN FOR AMAZON, FINDING FUN, PLAYFUL, VISUALLY-ARRESTING MOMENTS THAT BRING STATIC SCREENS TO LIFE.
PG&E
THIS WAS A TECHNICALLY EXTRAORDINARY SHOOT, PROJECTING LANDSCAPES ONTO PEOPLE AND LIGHTING THEIR FACES THROUGH A SMALL CUTOUT. IT WAS A FANTASTIC CHALLENGE AND WORKED OUT SO WELL!
GO DADDY
THIS WAS AN ONGOING SHOOT FOR YEARS. WE TRAVELED ALL OVER THE COUNTRY SHOOTING SMALL BUSINESS OWNERS, NFL SPOTS, AND EVERYTHING IN BETWEEN TO SHOW THE VERSATILITY OF THE PLATFORM AND THE IMPORTANCE OF HUMAN CONNECTION.
LEVI’S
I WORKED WITH LEVI’S FOR MANY YEARS, SHOOTING EVERYTHING FROM LIFESTYLE TO STUDIO CAMPAIGNS. THIS IS A LITTLE SLICE OF OUR WORK TOGETHER.
INTUIT
WE SPENT A YEAR FINDING AND PHOTOGRAPHING SMALL BUSINESSES ALL OVER LOS ANGELES AND CAME ACROSS SOME AMAZING PEOPLE DOING GLORIOUS WORK.
SUTTER HEALTH
WORKING WITH PEOPLE WHO WERE ACTUALLY PREGNANT AND SURVIVORS OF CANCER, WE CRAFTED A BEAUTIFUL, DYNAMIC SHOOT ABOUT THE DEMANDS OF REAL LIFE FOR EVERYDAY PEOPLE.
PARACHUTE
MY TEAM AND I SPENT YEARS WORKING WITH PARACHUTE, DEVELOPING THE VISUALS FOR THE BRAND AND FIGURING OUT HOW TO SELL SHEETS IN A COMPELLING WAY. THIS WAS OUR GREATEST MOMENT.
GMC & BUICK
WE DID MANY STILL AND GIF SHOTS FOR BOTH BRANDS. WE WANTED TO BRING THE CARS TO LIFE IN A WAY THAT SURPRISED YOU AND MADE THEM FEEL MORE HUMAN, LESS METAL AND PERFORMANCE.
SHOPIFY
SHOPIFY EMAILED ME ABOUT AN UNUSUAL CLIENT OF THEIRS: SHE HAD PET RATS, BLUE HAIR, AND HILARIOUS CARDS SHE SOLD ON THEIR PLATFORM. THEY GAVE ME A BUDGET AND A LITTLE CREATIVE DIRECTION, THEN SENT ME ON MY WAY. IT WAS WONDERFUL!
THIS WAS A COMPLICATED SHOOT. 12 PEOPLE WHO DID NOT KNOW ONE ANOTHER BECOMING FRIENDS FOR A DAY ON THE BEACH. THEY NEEDED ALL THE FORMATS: DIGITAL, 120 FILM, POLAROID, PHONES, 35MM, AND A SECOND SHOOTER. IT CREATED THIS INTERESTING PASTICHE OF IMAGERY THAT TOLD A NUANCED, VISUALLY-COMPLICATED STORY OF FRIENDSHIP.
FOOTLOCKER
I HAD SHOT BELLA FOR PLAYBOY A LITTLE EARLIER THAT YEAR AND GOT A CALL ABOUT THIS GIG. SHE IS SOMEONE WHO CAN SIMPLY TURN IT ON AND A PLEASURE TO WORK WITH AS A RESULT. I KNEW IF ANYONE COULD BRING SNEAKERS TO LIFE, IT WOULD BE HER, SO I GOT OUT OF THE WAY AND LET HER RESPOND TO MY PROMPTS AS SHE SAW FIT.
T-MOBILE
WHEN I GOT THE JOB, I DID NOT KNOW WHO YARA SHAHIDI WAS. I ONLY KNEW I WANTED TO DO SOMETHING THAT FELT UNGUARDED AND PERSONAL, SOMETHING THAT FELT LIKE A SLICE OF HER REAL LIFE. THE PHONE WAS ALWAYS INCIDENTAL TO HER REALLY LIVING.
COKE
THIS WAS A SPEC, BUT ONE I LOVED. I HAD LONG WANTED TO DO A SOFT DRINK, BUT NEVER GOT ONE, SO I TOLD MY OWN STORY ABOUT SOME MODELS I’D LONG WANTED TO WORK WITH.