I was recently sent a GVM B100C, which is a foldable LED light. To get a sense of it’s capabilities I did a shoot with Rachel Luree and used the light in two different setups…
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New Work: Nov. '24 to Feb '25
I used to be better about blogging regularly, but life happens, and the more I fall behind, the more daunting the task is of catching up. In an effort to at least loosely keep my blog followers informed (few as they may be), here’s a batch of new work that I’ve made over the past two months…
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My 2024 Photographic Recap
I continued in my exploration of photographing different liquids, and soon ventured into working with epoxy resin…
Read MoreY2K Lifestyle Shoot for Unsplash+
I was recently commissioned by @unsplash to create a body of work around the theme of early 00’s tech and fashion. I was born in 1980 so this was my era. I already knew how to approach shopping for props because I was basically buying everything I always wanted but couldn’t afford 😂. I was heavily influenced by the aesthetic in Gregg Araki’s 1997 film, Nowhere.
Read MoreButch Reynolds X EPSN 30 for 30: False Positive
My earliest memory of the Olympics was watching the summer games in 1988. I remember being mesmerized by the South Korean flag, which I drew in the margins of every school notebook I had. My father was a massive sports fan— specifically anything involving Ohio State— so I’d heard all about @butchreynoldsofficial , who was not only representing OSU in Seoul, but went on to take home a silver and a gold…
Read MoreSlipknot X Revolver Magazine Photo Shoot
This shoot was a make-it-work situation, if ever there was one. I was given 30-minutes to shoot a magazine cover as well as individual portraits of each member of @slipknot for @revolvermag. Apparently I didn’t think this was tall enough of an order, so I decided to shoot four different color schemes, both with and without a prism…
Read MoreMultiple Exposure Portraits with Roarie Yum
My studio is located within @thefort614, which is a 130 year old warehouse on the south side of Columbus. It used to be the home of the Seagrave Company, which used the space to manufacture fire engines and other rescue vehicles, for over 60 years. Every square inch of the building has a glorious patina that can’t be faked. The cracked plaster, distressed flooring, and sun-faded glass is something especially rare in this fast growing city, populated with new builds…
Read MoreImages From the May Creative Portrait Workshop
Here are some of my favorite images from my latest Creative Portrait workshop. As you can see, we covered a braod range of techniques over the two day class.
Read MoreMachine Shop Photo Shoot with In-Camera Multiple Exposures
My inspiration for this shoot was two-fold: the movie, Tetsuo: The Iron Man, and the cover of The Industrial Culture Handbook…
Read MoreShelby X Creative Portrait Workshop
I had a blast hosting a sold out workshop at my studio this past weekend. Thank you to my students for coming from places as far away as Boston, Seattle, and the Cayman Islands. Shout out to my incredible models (@yesandso seen here) for making it easy to turn these techniques into moving art.
Read MoreEyes and Ears and Mouth and Nose (Head and Shoulders Knees and Toes)
It’s been nearly five years since I’ve photographed @kate_sweeney and it was interesting to see the parallel in tone with our last shoot (third eye vibes)…
Read MoreWarped and Fragmented Portraits of Rachel
I had a blast playing around with a range of different prisms, refraction panels, and ring lights last week with @rachelluree. As always, these effects were created in-camera, with the only post work done being color grading in Lightroom.
Read MoreImages From January's Creative Portrait Workshop
Here are a handful of my favorite images from January’s Creative Portrait workshop. I’ve been teaching workshops since 2011 and have been slightly modifying the format each time until I found the current iteration. I now cap the two-day class at five students, which allows for more hands-on time and exploration of each technique. Since there are endless variations that can be created from any one of the techniques that I teach, I start by showing the class three iterations, and then I guide them, one at a time, in helping them fold it into their own visual style. This allows students to really retain the knowledge, as well as work it into their personal style.
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