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 a useful 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 Midlife Shuffle feel closer to how I make decisions now. I am less interested in proving how much was done and more interested in whether the moment holds.

That usually means simpler questions on set: where does the attention belong, what can I leave alone, and what does the scene need before I start making it busier?

Shatille McInnes in a warm practical-light frame from The Letter. — The Letter The Letter works best when the frame stays calm enough to let the tension sit there.

A hallway frame from Midlife Shuffle. — Midlife Shuffle A compressed shoot still has to make room for a frame that feels chosen.

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 belongs lower on the site. Some of it should stay quiet. But I still keep the pieces that show 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.