I learned to make films while traveling Central America in my early twenties. What I figured out that year was that a camera is currency — it buys you access inside houses, conversations, and people's actual lives that you'd never stumble into on your own. A year of carrying one changed who I was. I came home understanding that the work was going to be showing up for people who had something to say.

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Back home I took a job at a leadership program, shooting and editing and eventually teaching production to college-age students. Then Los Angeles, where I worked under established directors and took what I could from every set I could get onto. That work put me on the road: a documentary crossing America non-stop at twenty-five miles an hour, shot Chris Stapleton's second album tour, a cologne commercial I shot entirely while wrapped in a giant yellow python.

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Then ten years with Wilderness Collective, an off-grid expedition company. I wasn't a vendor they hired — I led the trips. Motorcycles and UTVs through Yosemite, Death Valley, Baja, and the Grand Canyon, riding and guiding and filming at once, and building the brand partnerships that came out of them. In the same stretch I built Amigo Studios in Oceanside, a film/photo studio, co-work space, where I ran accredited internships with local colleges. Twenty years in, the craft has narrowed to a few things: an insatiable curiosity for a good story, an eye for the real moment, campaigns that don't feel staged, and understanding what a client is trying to say before they've fully said it. All of that shows up inside a single scheduled shoot day — and it keeps getting better the longer a partnership runs.

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Now I'm in Haiku, on Maui. I still travel for work, but the island is home, and the work I want most is here.