A great headshot does the work before you ever walk in the room.

Audition and casting headshots aren't the same as a portrait — a great headshot has to read instantly, communicate who you are in a fraction of a second, and hold up next to a stack of a hundred others. Getting that right is its own specific skill, separate from photographing dance or performance work.

I trained under Peter Hurley, one of the most respected headshot photographers and educators in the industry, and I'm an active member of his Headshot Crew community — training that goes deep on specific lighting technique, posing, and getting a genuine, confident expression out of someone in front of the camera.

We shoot tethered here too — same as a dance session. Every image shows up on screen as we go, so we're picking out what's working together, in real time, rather than you waiting to find out after the fact whether anything actually landed.

This work is for dancers, actors, models, musicians, dance theater students, and creative professionals of any kind — audition headshots, company marketing images, and the individual portraits performers and creatives need for casting, representation, or their own professional presence. It's also for the people behind the scenes who keep a company running: creative administrators at studios and companies need professional headshots too, and that's very much part of what I do here.

I'm the photographer behind Indianapolis Ballet's headshots specifically, alongside their performance and marketing photography — the full scope, not a one-off project.