Art Direction for Still Photography: 2006 - 2014
Photographic essays & campaigns hinge on their ability to tell stories. Even industry jargon uses the vocabulary of narrative: one talks of doing "an accessories story" or "a California story" for one's client. To create characters in a few images; to show instead of tell: that is the goal of all the photographs in all the magazines.
This narrative form attracted me because of my love of visualization, composition, of photography, and fashion. For the projects shown below, I poured over and created reference decks; found, fabricated, and arranged the objects, and partnered with photo and editorial teams to create the images. Working in mostly New York, it was an extraordinary way to start a design career. Three dimensional thinking, design history, and the opportunity to work with some of the most influential publications and brands in the world: amazing.
Photographic essays & campaigns hinge on their ability to tell stories. Even industry jargon uses the vocabulary of narrative: one talks of doing "an accessories story" or "a California story" for one's client. To create characters in a few images; to show instead of tell: that is the goal of all the photographs in all the magazines.
This narrative form attracted me because of my love of visualization, composition, of photography, and fashion. For the projects shown below, I poured over and created reference decks; found, fabricated, and arranged the objects, and partnered with photo and editorial teams to create the images. Working in mostly New York, it was an extraordinary way to start a design career. Three dimensional thinking, design history, and the opportunity to work with some of the most influential publications and brands in the world: amazing.
Early work as a prop stylist with photographer Stefan Ruiz for the New York Times Magazine
Photographer Zoey Grossman for Bullet Magazine, with Alicia Silverstone
Dossier Magazine with Photographer Tom Hines
