The first time I felt the magic of photography, I was about 12. One evening in the basement of my childhood home, I stood beside my dad as trays of developer and fixer turned blank sheets of paper into photographs. I was bewildered, fascinated, and instantly hooked. My first camera was an old, rugged 35mm Nikon SLR that my dad passed down to me. Heavy in my hands but brimming with promise, it taught me, along with those nights in the darkroom, not just how to see, but how to tell stories.
From student to Editor-in-Chief
That thread of storytelling has carried me through every chapter since: as a staff photographer on Cornell University’s Daily Sun, as a writer chronicling the lives of other photographers during my 20 years at Photo District News, and as editor-in-chief of Rangefinder Magazine for 12 years (first in print, then as an online mag), where I had the privilege of spotlighting wedding and portrait photographers from around the globe and helped shape the annual trade show and photo conference, WPPI.
Immersing myself in community
Outside of my day job, I immersed myself in workshops with creative forces like Parker Pfister and Elizabeth Messina, reviewed portfolios at the Palm Springs Photo Festival, PhotoPlus Expo, and WPPI, and served as a juror for contests hosted by American Photo, AIBP, the Shoreline Arts Alliance and others. That said, three moments stand out: I interviewed Gordon Parks in his East River apartment, Elliott Erwitt made me an espresso in his Central Park West studio, and Jay Maisel “scolded” me for pressing the shutter too hard while I shot party pictures—an honor in its own right.
Yes, over the years, I’ve had the opportunity to interview some of the greats. Some of them were Arnold Newman, Albert Watson, Mary Ellen Mark, Harry Benson, Bruce Davidson, Alexi Lubomirski, George Tice, and many more. I know some names may require a quick Google search. However, as an Australian-born, Toronto-based photographer and educator David Anthony Williams once told me at WPPI, where he was the Chair of its Print Competition, an understanding of photo history gives today’s photographers the tools to make timeless, impactful work. He often urged his students to study the legends. Not to copy, but to learn from their use of light and composition. Then, he’d say, make it your own. That advice has stayed with me 12 years after first hearing it.
Of course, this industry has its ups and downs. When I was laid off from Rangefinder two years ago, I was stunned. But soon after, I became Managing Editor at World’s Best Wedding Photographers. They were a directory showcasing incredible talent, and I just kept moving forward.
Current writing & coverage (Adorama & Beyond)
As a contributing writer for Adorama’s blog, I love each assignment. Plus, I wholeheartedly embrace new writing projects for Adorama Rentals and Adorama Business Solutions. My very first assignment for Adorama was covering its inaugural wedding photography workshop in August 2024. There, I reunited with friends from my WPPI and Rangefinder days—Susan Stripling, Kesha Lambert, Alison Conklin—as well as a new generation of eager photographers. Since then, I’ve covered everything from a candid assessment of the Masters of Photography Platform, a look into the State of the Wedding Photography Industry, Adorama’s presence at NAB, Supreme Court’s TikTok ban (and President Trump’s reversal) to Blackmagic’s URSA Cine 12K LF release, the arrival of the Sony FX2 and so much more..
Gear-wise, I’ve never been overly technical. Back in my workshop days, my go-to was the Canon 5D Mark II. Later, I experimented with Sony’s mirrorless system. And now? Often, I reach for my iPhone 16 (don’t tell anyone!). Lately, I’ve have been on the hunt for the Canon G7 X Mark III but every time I look, it’s sold out!
Personal world
As for my own work, I’m especially proud of the quirky portraits I’ve created—intimate, simple frames that highlight connection more than perfection. I love to capture the in-between moments that no one else sees. When I attended Parker Pfister’s workshop in Scotland several years back, I was tasked with using a long exposure to create intentional motion blur and a ghostly effect. At first, I felt like I didn’t know what I was doing, but I do love the outcome (shown here). It’s not perfect, but it conveys exactly what I was trying to achieve. And that is a hallmark of my imagery. They are uniquely mine!
Recently, I’ve also been enjoying revisiting personal projects that blend writing and imagery, a mix that feels closest to my creative heart. One wish is to have more time to get back to my own image-taking!
The Portfolio Maven
Alongside writing, I’ve immersed myself in getting my “side hustle” known as The Portfolio Maven up and running. It’s a business devoted to doing what I love best—helping photographers refine and present their work in a thoughtful and curated way.
Today and onwards
Today, as I continue to write about photography and the industry, I explore the spaces where creativity and connection meet. Whether I’m behind the camera or at my desk writing, I always return to that same magic that my dad’s darkroom created and marvel on how it launched my creativity to last a lifetime.
