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A selection of my personal photographic projects over the years.

My style has naturally shifted with time — in both subject matter and technique — but one thing has stayed the same: I’m drawn to moments, people, and places that feel singular.

Nostalgia has always been a quiet undercurrent in my life. Photography has become a small, personal way of leaning into that feeling. It lets me linger a bit longer; helps me make peace with time.

JAMIE JAMIE
Personal Project

When I first met Jamie Nelson, it felt less like meeting a person and more like stepping into a world. Everything about her, her pink house, her pink Mustang, her pink chopper, felt like a living extension of her imagination. 



It wasn’t the curated eccentricity of someone trying to be noticed; it was the natural overflow of a woman who has spent her whole life turning fantasy into reality. Our connection began out of curiosity. I had always admired her work from afar, the saturated color, the unapologetic femininity, the sense that every image came straight out of a fever dream somewhere between a beauty campaign and a B-movie. There’s this punk attitude behind all that glitter, a defiance that says: why shouldn’t beauty also be outrageous? When the opportunity came to photograph her, I didn’t hesitate.  What I discovered in person is that Jamie’s energy goes beyond her photographs. She carries that same fearless, almost cinematic tension in the way she moves, the way she talks, the way she looks at the world. There’s a rare alignment between her art and her life. She is her own creation, self-invented, self-styled, self-powered. And yet, beneath that polished surface of hot pink chrome, there’s a deep sincerity, an artist who built her life from the ground up with her own two hands and an unbreakable sense of purpose.


I’ve always been drawn to people like her, the ones who live with color and conviction, who blur the line between performance and existence. Photographing Jamie wasn’t about capturing her; it was about keeping up with her. You don’t direct someone like that. You join her orbit, and if you’re lucky, she lets you document it.   The photo series we created together was meant to explore that dynamic. I didn’t want to reproduce her world, her glossy sets, her studio lighting, her chrome lipstick universe, but to see what happens when that energy is stripped down and re-contextualized.  Shooting Jamie reminded me why I fell in love with photography in the first place. It’s not just about composition or exposure; it’s about energy, the invisible thread between two people in a shared moment.
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