Photography communicates ideas with more power than text and color. Great photographs cut through information overload to provoke strong feelings and thoughts.
I create unique photographs with emphasis on color, minimalism, aesthetics, elegance and precision.
I challenge myself to show the intrinsic beauty of any person or location, however unglamorous they may be. I notice details most people don’t. I strive to extend, into a living photograph, the powers that shape reality.
Whatever the subject, my pictures will impress, sell and inform. Take a look at my photography portfolio.
I have come to photography from painting and consider each photograph a work of Art. I commit to the highest quality in everything I do and I expect to create the best image every time I press the shutter release button. Read more about my approach to quality.
I constantly perfect my knowledge of camera gear so that I can forget about the tool and concentrate on the picture. I can’t remember myself without a computer and call Photoshop my home.
I was first published at the age of 17, in 1997. Ever since, I have been accumulating experience with very diverse projects and clients worldwide.
I care for your business challenges and brand. I care less for your size and stature. I have worked with multi-national corporations and one-man clients. I have shot intimate one-to-one portraits and complex advertisements involving drivers, models, production managers, walkie-talkies and ropes.
I always work on location and prefer available light. I rarely work with an assistant and favor the fast and light approach. Even on complicated shoots, I tend to work with a small and efficient production team, keeping the costs down. Find out more about my work methods.
I choose to comprehend the project in depth. I like to simultaneously place myself in the position of the end client, the art director, the designer, the writer and the photographer. I studied 3 years in business school and interned in marketing departments of numerous companies, so I understand concrete business challenges.
I art direct, design, write advertising copy and publish press articles, so I think ahead about the layout when I create pictures. I also deal with production details from A to Z, including offset printing peculiarities and web technology minutiae.
I value professional, accurate and honest approach to conducting business.
I am certain that assignment photography creates the most value for a brand. Companies make huge efforts to differentiate services and products from competition. Custom-made photography helps to achieve this goal. You deserve the best: contact me for a quote.
But I tend to over-deliver: many excellent photographs created on assignments stay unpublished due to space constraints. These photographs become stock photographs and may fit your project perfectly with an added bonus of immediacy and lower cost. Browse through my photography portfolio and contact me with a list of photographs you would like to use. Or, ask me to carry out a custom search in my archives.
I offer both assignment and stock photography. Both have pros and cons. How do they compare?
Assignment photography |
Stock photography |
|---|---|
| A photographer is asked to create a new photograph that will then be licensed for use in a project. | A pre-shot, already existing photograph is licensed for use in a project. |
| A photograph is specific to the project and client need. | A photograph caters to a broad number of projects and client needs. |
| Rarity | Commodity |
| Brand distinction | Brand dilution |
| Whatever the subject, a photograph will be created (example: a unique advertising concept or a portrait of a CEO). | A stock photograph of the subject may not exist (same example: a unique advertising concept or a portrait of a CEO). |
| The client uses the photograph before anyone else. | A competitor may have already used the photograph. |
| Exclusive usage rights are always an option. | Exclusive usage rights may be useless if the image has already been used by a competitor, may not be available and may cost as much as a custom made picture. |
| Photograph looks current. | Photograph may look out-of-date. |
| A new photograph takes time to create. | The photograph is available immediately. |
| Effort-intensive for the client: book the assignment, explain the brief, sometimes coordinate and participate in the shoot, sometimes wait for the weather, etc. | Less effort-intensive for the client: the biggest challenge is to choose the photograph. |
| The client trusts the photographer to create a new photograph. Both the client and the photographer hope the photograph will be good. The designer supposes how the image will look. | WYSIWYG, or What You See Is What You Get – the photograph has already been created. The designer can start trying various layouts right away. |
| Creative fee adds to usage rights fee. | Only the usage rights fee is invoiced. |
| Adds production costs (technical expenses: travel, meals, models, etc.) | No production costs: an image already exists. |
| If the client does not like the created photograph, the total cost is split between the client and the photographer. The client pays all technical expenses but only 15% of the creative fee. | If the client does not like the photograph, he pays nothing. |
Compare my assignment photography and stock photography workflows, find out more about my pricing or read my usage rights primer.
Read through my collection of tweets about photography.
TIP: To print images, enable “Print backgrounds” in your browser preferences.