I’ve been photographing long enough to know that a career isn’t one clean lane. It’s weather. It’s rooms. It’s reinvention. I came up the old way: as a freelance photographic assistant in New York, booked by top fashion photographers, learning the physics of a set, how light behaves, how talent breathes, how calm becomes a form of power.
For a pivotal stretch, I was studio manager for photographer Ross Whitaker at Studio 901, 156 Fifth Avenue, an address that was less “workspace” and more frequency. Through that world I met and assisted artists who helped shape the visual language of an era: Arthur Elgort, Stan Malinowski, Mario Testino, Bruce Weber, Palma Kolansky, Rebecca Blake. In those fields you learn a lasting truth: the photograph isn’t the click. The photograph is the build, tempo, trust, taste, and the invisible architecture that lets a moment become real.
My own career kicked forward when Katie Ford at the Ford Model Agency gave me a runway: I produced and photographed a 3M calendar featuring Ford models. That project taught me I could do more than “shoot”. I could produce, direct, deliver.
Then came the deep-forging assignments. I went to Australia and shot at a scale that changes you: 180 pages of editorial for Australian Harper’s Bazaar and 120 pages for Australian Cosmopolitan. That kind of work trains endurance and clarity. It teaches you how to keep the work alive across long days, shifting locations, changing light, evolving budgets, bigger personalities and still land images that feel inevitable.
From there the story widened: London, represented by Julia Kirk, where I photographed for The Daily Telegraph, British Vogue, Company Magazine, The London Sunday Times, alongside commercial work for N. Peal of Saville Row, Janet Reger, Max Factor and Harrods. Then Milano, represented by Giorgio Repossi, producing work for Cento Cose and Man. Each city refined a different muscle: New York taught quality and nerve, London taught restraint and elegance, Italy taught freedom with structure.
When I moved to Miami Beach, my life shifted. My daughter was born and she remains the best thing that ever happened to me. It changed how I value time, and why I’m so serious about images that last.
In Miami Beach I landed at Ocean Drive magazine, where my skill set expanded outward into digital build, editorial systems, and the early language of online media. I designed and produced V2 of oceandrive.com, which began a parallel career producing motion: web video around cover shoots, interviews, and celebrity worlds that fed entertainment outlets and syndicated programming (including Extra. Entertainment Tonight and Inside Edition). Micro Cinema was born. The frame learned to breathe.
Throughout all of this, I kept stepping into industries I’d never worked in because that’s when I felt most creative. The moment I don’t know the rules yet is the moment my eye gets sharper. I’ve moved between genres the way a musician moves between keys keeping the same sensibility while changing the instrument.
I’ve made films for art installations and lectures for Louis Vuitton. I spent nearly a year producing recruitment and brand storytelling videos for XPO Logistics, a different kind of world entirely, where the challenge isn’t glamour, it’s clarity and human truth inside scale. I’ve built work for medical, hospitality, luxury retail, broadcast, government, fashion, automotive, spirits, real estate, and cultures often translating “what it is” into “what it feels like.”
Here are some of the names that have trusted that translation:
Louis Vuitton, Timex, Laura Biagiotti, Norwegian Cruise Line, Mandarin Oriental Miami, Hamptons Magazine, XPO Logistics, RingCentral, City of Miami Beach, Elizabeth Arden, Guess, Aston Martin, Locman Watches, Tanqueray Ten, Kodak, The Related Group, Niche Media, CBS4, NBC6, Maxim, Ocean Drive Magazine, Perry Ellis, Sony Records, Bal Harbour Shops, the Miami Yacht Show and the Fort Lauderdale International Boat Show.
That range isn’t randomness. It’s the point. Because what I’m showing here isn’t a portfolio as a pile of “best-of.” It’s a sequence, chapters organized by modes of seeing. Each mode is a way I approach the world, regardless of client or genre.
The Modes;
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- Presence — portraits without performance.
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- Ritual — fashion as ceremony.
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- Pulse — a city in motion.
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- Edge — experiments in vision.
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- Atmosphere — what happens when the room matters.
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- Flesh & Form — intimate, bold, never exploitative.
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- Echo Chamber — the architecture of brand story, in motion.
And then there’s the quieter work. The work that doesn’t shout. Whispers of Hope lives here as practice. Daybreaks made to live large, in your head or on a wall, setting the emotional temperature of a space.
Signature Prints and Interior Placement
I don’t think of prints as “merch.” I think of them as interior instruments and a way to tune a room. A signature print is not decoration. It’s a decision: what do you want the air to feel like when someone walks in? Calm? Tension? Heat? Silence? I build images with placement in mind, scale, negative space, tonal range, the way a piece converses with architecture, upholstery, stone, wood, and light.
If you’re an interior designer, a collector, or someone building a home with intention, this work is made for you: one wall, one image, the kind of piece that changes the room without raising its voice. The photograph becomes atmosphere, installed, permanent, lived with.
The Archive
Threaded through all of it carefully, deliberately is the idea of the archive.
There are moments that exist before the world decides what they mean. Photographs and footage that stayed quiet for years, not from secrecy, from timing, respect, and value. I’m known for discretion, and that’s why I’ve been trusted in rooms that don’t need witnesses only results.
One anchor chapter is the Andy Warhol, Model Boy Collection, culminating in fine art prints. Work that isn’t nostalgia, it’s history. Artifact energy. A document of proximity and era, treated with the seriousness it deserves.
Then there’s the next chapter
From my archives: a never-before-seen behind-the-scenes film from an Ocean Drive en Español cover-try session captured in that rare, electric window before the subject, a latina bombshell, became an “everywhere” name. A summer afternoon where the future is still invisible. Where charisma hasn’t been turned into brand yet. Just presence, raw, luminous, unprotected, one that feels like a sealed envelope finally being opened.
This won’t be released as content. It will be handled as an artifact: a short film with provenance, a preserved moment from the hinge-point of a rise. A limited, private release is planned for collectors who understand that some images aren’t meant to be fed to the timeline. They’re meant to be kept safe.
This is what I’m showing here: a living archive, in public without becoming noise.
Work with David
If you’re a creative director, a marketing lead, a brand builder, an interior designer or a collector looking for work with authorship, consider this your invitation to begin the conversation.
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