I’ve spent most of my life around movement. I grew up dancing and spent 17 years teaching, while simultaneously finding my way into the fitness world as a strength coach.

I always gravitated toward the technical side of dance—the foundational details that made everything else possible. I liked refining the little things, figuring out why something wasn’t working, and finding what made a movement click. That interest became a big part of how I coach, where I work with dancers, athletes, and people of all backgrounds to build a stronger foundation for how they move.

Photography is another way I get to do that.

I’m interested in images that feel considered without feeling overworked. Colour, composition, movement, expression, light—all of it matters, but none of it should distract from the person in front of the camera. I want the image to have a point of view while still leaving room for you to be recognizable in it.

I’ve spent a lot of time on both sides of the camera, and in a few of the roles around it. I’ve worked as a performer and actor, choreographer, rehearsal director, and on-set coordinator, among other things. Each has given me a slightly different way of looking at people, movement, and what happens in front of a camera.

When you’re in front of my camera, I’ll give you enough direction to take the guesswork out of it, while paying enough attention to know when to get out of the way.