Selected Work · June 12, 2026

What the newer work is teaching me

The late-2025 and 2026 projects feel closer to how I work now. I am choosing frames a little cleaner, trusting faces more, and leaving more room for the thing that is actually happening.

Live music stage in pink and purple light from the Jason Parkes Customs commercial.

The newer work feels closer to me.

Jason Parkes Customs, Open Road and Colorado all asked for different things, but they share the same pressure: people, place, music and timing had to land quickly.

I like that kind of problem. There is not much room to hide behind coverage. Either the frame has energy, or it does not. Either the person still feels alive in it, or the polish gets in the way.

Properman performing under pink and purple stage light inside Crown & Thieves for Jason Parkes Customs. — Jason Parkes Customs This is the kind of frame I want more of now: people, place and movement all doing part of the work.

By 2026, I was making cleaner choices.

The Letter and Blood Brothers matter to me because they are director-and-DP conversations, not something I think about as solo camera work. Harrison Mendel was the DP on both. My side of that work was about blocking, restraint, performance pressure, and deciding where the frame could stay quiet.

Midlife Shuffle is a different kind of example. I was there in camera-department support as B camera and assistant DP, so what I take from it is more practical: how to help a compressed visual plan survive the day without making the set heavier than it needs to be.

Marie Ashwood and Shatille McInnes in a warm practical-light frame from The Letter. — The Letter The Letter reminds me how much directing can happen in stillness when the DP relationship is working.

A hallway frame from Midlife Shuffle. — Midlife Shuffle On Midlife Shuffle, my role was B camera and assistant DP support; the lesson is how a compressed day still needs a look that holds.

I still keep the older work that teaches me something.

I do not want to pretend older work is newer than it is. Some of it I leave alone. Some of it I keep because it still shows an instinct I recognize.

Blood Brothers, Sockeye and a few earlier performance pieces still matter to me because I can see the same habits starting: contained rooms, controlled light, faces under pressure, and images that feel lived-in instead of decorated.