About Me.

About

It started with my stepmother, who handed me a camera and the fundamentals, and it never let go. High school in Philadelphia meant hours in the darkroom, learning to see light before I learned much else. In 2000 I moved to Vail, chasing mountains — and found photography waiting for me there too.

That was 25+ years ago. Since then the work has taken a lot of directions, but the thread running through all of it is the same: I'm drawn to people who've committed themselves to something, and to moments that won't happen twice.

I shoot weddings documentary-style — the real thing, as it unfolds, not staged. I've spent years photographing action sports — motorcycle stunt riders, snowboarders, skaters, climbers — because that same commitment shows up there, just at higher speed. I've directed creative campaigns for brands like Cadillac, Lululemon, The North Face, and Onewheel, building visual stories instead of just images. And for over a decade I've been shooting wet plate collodion tintypes — an 1850s process, pure silver on metal or glass, no file to corrupt or forget. It's the closest thing photography has to permanent.

That last one might be the clearest version of what I care about. I'm the descendant of a photographer who worked this same process in the 1840s — Lowell Gilmore, five generations back. A camera has been in my family a long time. I like the idea that what I make now might still be around in another 150 years.

Most recently, that same instinct led me to start The LIFERS Project — a documentary series, thirteen years in now, about people who've built their lives around a single passion. It began in skateboarding and action sports and has grown from there. It's becoming a book.

Denver is home base. I work Colorado year-round, Tucson and California in the winter, and pretty much anywhere if the story's right.

“Photographs that outlast the photographer. That's the whole idea.”