Select from the albums below to view my portfolio of work.

These photographs were made across Southern California, San Francisco, Vietnam, and Hawaii between 2019 and 2022—years that span the pandemic and its immediate aftermath, when public life contracted and then slowly reopened. The geographic range is wide, but the concerns are consistent: how people occupy shared space, how they carry themselves when unobserved, what remains visible between moments of event. My eye was drawn to ordinary gestures in public life: people absorbed in tasks, pausing between things, moving through streets with varying degrees of awareness of the camera. Black and white carries most of the work, though color appears where the palette was inseparable from the moment. The photographs reflect a practice in formation, finding that the distance between photographer and subject is not incidental to the work—it is the work. They represent some of my evolving early street photography work.

These photographs were made across California and Vietnam in 2023—a year that began in the crowd and ended on the water. Two Lunar New Year celebrations anchored the first months: Monterey Park in January, San Francisco's Chinatown in February. Between and after them, the streets of Los Angeles and the Venice boardwalk. In December, Vietnam for the first time since before the pandemic—Ho Chi Minh City and the Mekong Delta, where my eye found a different kind of quiet—a world figuring itself out post-pandemic. For me, these are photographs of a practice finding its rhythm again, out in the world after years of contraction.

These photographs were made across four countries and eight months in 2024—some familiar and some new. My focus remained the same: proximity, the unguarded moment, people absorbed in the world happening around them. What changed was the context. A cathedral square in Cologne, the Fremont Street spectacle, a Día de los Muertos mask in afternoon light. Color appears more frequently here than in the preceding work, not as a departure but as a response: some environments demand it.

During my time in Vietnam, I observed everyday life in Hanoi through moments of pause rather than spectacle. The photographs here focus on small gestures—working, waiting, sitting, watching—set against a city shaped by movement, infrastructure, and constant negotiation. Rather than pursuing decisive moments, the images attend to what unfolds between them: the quiet rituals that persist alongside noise, density, and change. People are shown not as symbols of place, but as participants within it, navigating public space with familiarity and restraint. Working primarily in black and white allows form, light, and proximity to carry the narrative. The photographs are less concerned with documenting Hanoi than with reflecting how it feels to move through it slowly—where human presence remains steady even as the city shifts around it.

During my all too brief time in Japan, I wanted to document everyday life in Japan at walking speed. The photographs are made in public spaces—streets, crossings, markets, storefronts—where tradition and modernity coexist. The work focuses on moments of pause: waiting, walking, checking a phone, sheltering from rain, carrying a child, moving through a crowd. The camera remains at human height and conversational distance. People are encountered mid-gesture and unguarded, not as symbols but as individuals navigating shared space. Technology and cultural markers appear naturally, treated as part of daily routine rather than visual contrast or commentary. The black and white emphasizes structure, light, and timing while reducing distraction. Together, the photographs form a quiet narrative of movement and stillness, suggesting a contemporary Japan defined by continuity—where the ordinary, the modern, and the enduring exist side by side on the same street.