I was waiting to get dinner with a friend at Joe’s Shanghai, which has always been my favorite Chinese restaurant in New York City. I had some time to kill, so I figured there was no better way to spend it than wandering through Chinatown at night with my camera. The neighborhood comes alive after dark in a way that feels completely unique. The neon signs glow, the sidewalks stay busy, and everything moves with this constant pulse. I wanted to capture that energy, so I leaned

There’s a certain kind of silence in the desert that you can’t explain — only feel. It’s the hum of heat and wind, the stillness between cactus shadows, the way the air itself seems to hold a story. When I’m not shooting campaigns or portraits, this is where I go — into the desert, camera in hand, chasing light. Not because I’m looking for anything in particular, but because every shift in tone feels like a new frame waiting to happen. The Language of Light Arizona light is u

Every once in a while, a camera doesn’t just fit your hand — it fits your rhythm. For me, that’s the Leica Q3 . It’s not about megapixels or specs; it’s about flow . When you pick it up, everything slows down in the best possible way. I’ve used a lot of systems — Sony, Fuji, Canon — and they all have their purpose. But the Q3 feels different. It’s the camera that reminds you why you started taking photos in the first place. Shooting With Intent There’s something about the fix

Scroll through any social feed today and it’s all noise — bright, sharp, fast. But the images that stop people, even for a second, are the ones that feel  like a scene from a film. They carry mood, atmosphere, and story. That’s what I mean when I talk about cinematic photography  — it’s less about perfection, more about presence. When I’m shooting a campaign, I think like a filmmaker. Every brand has a tone, a pace, a visual rhythm. My job is to find it and translate it into