I already work on three continents. Yours is a flight away.
Who this is for
Different budgets, same problem: the location matters and the footage has to prove it.
Resorts & hotels
Rooms, grounds, food, the feeling of arriving. Enough material to run a season, not one hero shot.
Brands & products
Campaigns that need a real place behind them instead of a studio backdrop.
Tour & experience companies
The thing you sell only exists out there. It has to be filmed out there.
Couples
Elopements and weddings somewhere that took effort to reach.
Founders & executives
Portraits and brand films on location, built around a schedule that will not bend.
Athletes & talent
Training, competition, the off-season shoot in a place worth the flight.
Real estate & property
Listings, developments and B&Bs where the setting is most of the sell.
Editorial & publishers
Assignments that need someone who can land, adapt and deliver.
This is not a first attempt
Travel work fails on logistics, not talent. That is the part worth checking before you book anyone.
I have been paid to shoot in the US Virgin Islands and flown out for a client in Boston. When a job does not need me physically in the room, I have hired and directed crews in Moscow, Israel, California, Arizona, New York and Florida — briefed by me, shot to my direction, edited under me.
That is the part most people cannot offer. A photographer can travel. Fewer can stand up a shoot eight time zones away, brief a crew they have never met in person, and be accountable for what comes back. I have done both.
Everything goes through me. I talk to the client, I set the direction, I run the edit. If I bring in a crew or an editing team, that is a resourcing decision, not a handoff — you are hiring one person who answers for the result.
The other eighty-five places are on my own time: waterfalls in Oregon, canyons in Utah, the coast at Big Sur, Israel end to end. That is not portfolio padding. It is why a delayed flight, a blown forecast or a location that looks nothing like its photos does not derail the day.
Big Sur, Mount Hood, Crater Lake, Moab, the Willamette and the Oregon coast — my own frames, my own trips.
How it usually goes
-
A call before anything is booked
What the place is, who it is for, and what you actually need to walk away with. Fifteen minutes tells us both whether this is a fit.
-
A plan built around the light and the flights
What gets shot on which day, what happens if the weather turns, and what is realistic in the time on the ground.
-
Travel and expenses quoted separately
Always. My fee is my fee; flights, stays and permits are their own line so you can see exactly what you are paying for.
-
I show up and shoot — or I put the right crew there
Solo when that suits the job, with a crew when it does not, and occasionally a crew on the ground somewhere I am not. Either way the brief, the direction and the edit are mine.
-
Edits reviewed together
Nothing is final until you have seen it. No surprises about scope.
Places I am actively trying to get to
Seventy-nine regions are on my Dream List. Book a project at one of them and 20% comes off my creative fee — not a discount so much as a deliberate trade. Open the map and see whether your property sits on it.
What you would actually get
Scope is built per job, but a resort or brand trip typically comes back with a hero film, a set of short vertical cuts for social, and a stills library big enough to run for months. Couples get the film and the gallery. Founders get portraits and a brand piece.
Planning a wedding somewhere far? That lives on my elopements page. Commercial work has its own home on brand films. This page is for everything where the flight is part of the job.
Somewhere gorgeous, and a real budget
That is the work I am building toward. If you are a resort, a brand, an agency or a couple with a location in mind, tell me where and what you need — and let us see whether it is a fit.