About me

Let's get the sunglasses out of the way: yes, they're always on, no, it's not a bit. I started wearing them on set because LA light at 2pm is a personal attack, and I kept wearing them because clients noticed the pictures sold. A face you can fully read is a story finished; a face half-hidden makes people look twice. I get booked for the second look. My agent calls it 'the squint economy' and honestly, she's not wrong.

I shoot streets, not studios: parking lots, pink walls, chain-link fences, the concrete nobody else wants. My most-licensed photo of last year was taken against a repainted taqueria wall while a parking officer wrote me a ticket just out of frame. That's the whole job, really: find the ugly-beautiful corner of the city, stand in it like you own it, and be out before the meter runs. I keep a running map of walls on my phone. It has 61 pins and two restraining-order jokes from my friends.

Between jobs I live in Frogtown with a foster-fail cat named Meter and a garment rack that has fully annexed the hallway. I got here from Sacramento at nineteen with a duffel bag and a face my booker described as 'commercially suspicious', which I've since put on billboards, bus wraps, and one very confusing bus-bench ad for dental insurance. The tattoos are all stick-and-pokes with stories I'll tell you on set. The sunglasses stay on for those too.