Eat Pomegranate Photography
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October 31, 2016
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As the sun starts setting earlier in the day I start doing a lot more work in the studio. Halloween is usually that tipping point from natural light work to studio work. Emma and I had been talking about this project for a while and we hustled to get it out today.



Beginning something is always hard. This guy was the first person to step in my studio. He was standing behind me as I was setting up and I asked him if he would let me photograph him; without saying a word, he slowly walked in front of my light.

Street Corner Studio

During July’s “Arts Night Out” in Old Town, I set up a mobile backdrop and one really powerful studio strobe on a street corner; these are the portraits that resulted from an hour of talking to strangers. I am always so interested in how many people we pass by every day and I hope this project preserves cross-sections of those passing moments. I was just reading a paper about how most people only look into each other’s eyes for a few short moments.

“Most animals look at each other to signal threat or interest. In humans, this social interaction is usually punctuated with brief periods of mutual eye contact. Deviations from this pattern of gazing behaviour generally make us feel uncomfortable and are a defining characteristic of clinical conditions such as autism or schizophrenia, yet it is unclear what constitutes normal eye contact (Binetti, 2016).”

When we look through a portrait series like this, we allow ourselves to look into a person’s eyes and layers of personality slowly start revealing themselves. Isn’t that cool? Gah! I can’t get over this pilot project. I will be doing a lot more of these around the state. Keep an eye on this blog for more versions.

Binetti, N., Harrison, C., Coutrot, A., Johnston, A., & Mareschal, I. (2016). Pupil dilation as an index of preferred mutual gaze duration Royal Society Open Science, 3 (7) DOI: 10.1098/rsos.160086


This guy was walking/jogging around and dancing. He was full of life and I barely caught him in time to get his attention.

Andrew Farmer

I only stopped him because of his awesome beard and really cool jewelry. As I was photographing him, he told me that he was a musician.


She has swag.


Sgt. Pepper

“Meet Sgt. Pepper, a first generation 2003 MINI Cooper Hardtop lovingly named for its Chili Red paint, and The Beatle’s Sgt. Pepper’s Lonely Hearts Club Band. Also referred to as Pepé, this darling MINI was my first auto purchase at age 19, and a first step towards an unrelenting love affair with driving. With its red coat, and white roof, mirror caps, and bonnet stripes, Sgt. Pepper’s styling is the epitome of a classic cooper. Having shared 60,000 miles of engine-revving, corner-ripping, road-thrashing togetherness, this MINI will remain fondly parked in my heart for the rest of time. “


Most of my friends are not “car people.” You know, the kind who would be able to rattle off specs for every shiny sports car they see on the road. Or the ones whose hearts race in sync with the rev of a fine-tuned engine. Vicari is the definition of a car person.

This was a shoot about Vicari’s love for her MINI Coopers. Her passion for cars is absolutely infectious. If you know Vicari, find an opportunity to be with her when she presses the ignition button on her new MINI.

Vicari is a wordsmith, and it was more appropriate for her to craft some words about these cars. We met up under a bridge outside my studio for this shoot. The industrial backdrop was perfect for the MINI’s mischievous nature.



“And meet Bane, my second generation 2012 MINI Cooper S Hardtop, named for The Dark Knight Rises’ ruthless mercenary. With over ten million different ways to configure a MINI, Bane’s styling, and its badass connotation, is truly one-of-a-kind. I lusted for its blacked-out body, those matte sport stripes, and its striking two-tone red leather interior. Despite its size, this MINI is gutsy, and perhaps best described as a go-kart on steroids. Do be careful—at the start of it’s engine, you may find your pants have magically dropped. After 1,000 miles together, it’s really quite apparent; I’ve fallen in love again.”


April 25, 2014
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Meet Violeta

This is one of my favorite photos from the shoot. I was really excited as soon as I found out she had blue lipstick in her purse.

Connecting with a person in my studio is incredibly rewarding  for me as a photographer. Showing this perspective to the world in a portrait even more exhilarating. Violeta is one of the most delightful people to photograph because she has such grace, and courage to face bright lights and a snapping shutter. It sounds dramatic, but a camera can be intimidating placed between two people. When I am in the studio, my goal is to remove that stigma of the camera from the mood of the shoot. The sooner that happens, the sooner one can capture photographic gold like this. Violeta has been working on a self-care project and wanted to collaborate for this shoot.

Kind words

If you want to see an outtake from this shoot check it out here.

Blue and Gold

I love how the blues and the golden tones of light come together in this photo.

Beards can grow in space

You heard it right, beards can grow in space and this weekend we were able to prove it. See the rest of the photos in the Eat Pom Market.

Shiny Suits and guns

John has a shiny suit and that makes him cool enough to protect us in space. Beware!


Yes, Jane Jetson stopped by and it was pretty awesome.

What happens in space....

Then things got pretty CraY.

Playing with light

Last week, I had a studio session with Emily and Savannah (fellow photographers); after we were done, we decided to play with studio strobes. This photo is similar to when you take a point and shoot camera and set it to the “night setting”; in our case we got to control all the variables. Photos like this are made by using a combination of continuous light and a strobe light. We had a 60″ x 20″ soft box to the camera right and a smaller gelled soft box with continuous light to camera left. I was shooting at f8.0 with a 1 second shutter and the camera was set to a ISO 100. After the strobe discharged  I moved the camera to draw a light trail. See below the diagram for outtakes.