ABOUT FRAMED BY FLASH

Before the camera as a craft, there was the eye.

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I've always been drawn to pictures. I think some of that came from my dad. I'd been taking photos for years before I knew what aperture was — I had a Canon Rebel T2, and I shot a lot with it. The pictures weren't always good, but the instinct was there. I just didn't have the technical understanding to match it yet.

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From 2018 to 2020, I led a team running weekly nightlife events. Marketing those nights meant photos and video, and we hired plenty of both. Videographers, photographers, anyone with a camera and a portfolio. And almost every time, I'd get the files back and think: that's not what I saw.

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Around then I upgraded to a Canon SL3 — mostly for the video, since the promotions were video-heavy, but I kept shooting stills on the side. I was still in auto. I still wasn't getting what I envisioned. The events were the business, and there wasn't time to go deeper.

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Then COVID hit. The nights stopped. The marketing stopped. And the camera — which had always been in my hands one way or another — was finally the only thing left.

So I went all the way in. Aperture, exposure, bouncing light, composition — I taught myself until manual mode stopped feeling like math and started feeling like instinct. I learned to edit. I learned to frame. I learned to finally make the pictures my eye had been seeing all along.

 

It's been a journey, and I'm still on it.​

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How I See

I'm drawn to natural light — shadow, contrast, a little bit of mood. I don't think a photo needs to be bright to be beautiful; sometimes the contrast is the whole point.

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But I also love working with studio lights, where I get full control and can shape the story exactly the way I see it. Different tools, same goal.

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When I shoot, I'm not chasing a formula. Sometimes the light is the subject. Sometimes it's the person, and the light is just doing its job. What I'm always after is the moment as it actually is — and the frame that tells its story.

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That's the through-line whether I'm shooting a portrait we've planned down to the pose, or an event where I'm reading the room in real time. Directed or candid, natural or lit, the work is the same: see clearly, frame honestly, press the shutter at the right second

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Maybe it's the years of running events with my team that taught me how to read a room. Maybe it's just how I'm wired. Either way, it shows up in the work.

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Let's Make Something

​Portraits, events, travel, street — if there's a moment you want held onto, I'd love to be the one to frame it.

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