Everything I shoot, and what you get.

This is the work I do most. Photos, drone and film for agents and owners who know the first twenty photos decide whether anyone books a showing. Everything is shot to sell, not just to sit in a portfolio — MLS-optimized resolution, straightened by hand, and colour-corrected one image at a time rather than run through a batch filter.

Three packages cover almost every listing, and they're written out file by file so nothing is a surprise.

I shoot weddings on a full-frame cinema camera with fast prime and zoom glass, which is the plain-language way of saying the dark parts of the day still look good — vows under trees, speeches after sunset, the dance floor. Every clip records to two memory cards at the same time, inside the camera, so there is never a single copy of anything.

Audio gets its own microphone on whoever is speaking, with a backup recording running separately. Drone coverage is included wherever the venue and the airspace allow it, and I ask about that before the day rather than on it.

Every wedding is different enough that a price list would be a guess. Tell me the date, the venue and roughly how long you want me there, and I'll quote the actual day.

Street festivals, markets, grand openings, community weekends. I cover the whole run — the setup nobody photographs, the crowd at its best hour, the vendors, the details on the tables — and turn it into a recap people actually watch to the end.

The deliverable most organisers want is a package rather than a pile of files: one recap film, a set of finished photos numbered in posting order, and the same photos cropped for phones with captions already written. That last part matters more than it sounds — a folder of beautiful images still costs somebody an evening if nobody wrote the words.

Most small businesses have a good answer to “what do you actually do?” and no way to hand it to somebody. That's the film: 60 to 90 seconds of your place, your people and your work, cut so it holds up on a homepage, in a pitch, or on a phone in someone's hand.

These are shot the same way as everything else here — me, on site, with the lights and the microphone, then edited and graded before it goes anywhere. If the film is going on a website that can't hold it, that's worth fixing first, and I do that too.

I've spent a lot of time on build lots, and the pattern is always the same: the buildings are good and the photos are somebody's phone, taken in the rain, on the day it had to go up for sale. A building that costs tens of thousands of dollars is worth a proper set of pictures.

This works as a per-building catalog shoot — exterior, interior, the details buyers ask about, drone for the lot — shot consistently so a whole inventory page looks like one company made it. It also works as walkthrough films, which is what sells a building to someone two hundred miles away who is never going to visit the lot.

Two halves of the same thing. If you've built something — restored it, swapped it, saved it — there's a film in it, and most people only ever get phone photos in a parking lot. Rolling shots, detail passes at golden hour, the walkaround that actually shows the work: that's a car film, and it's yours to keep long after the car is gone.

The other half is dealers and private sellers. A walkaround video and a clean photo set move a vehicle faster than fourteen blurry pictures with a garage door in the background, and they cost less than the first price drop.

Live sets, performance videos and music videos for artists and bands. I shoot in low light without turning the room into daylight — fast lenses and a camera built for it — so the footage looks the way the show felt.

A live set becomes a full-set recording plus the two or three songs worth posting. A music video is its own project: we plan it, shoot it, and cut it to the track. Either way you own the footage outright — no watermarks, no licensing games with your own performance.

Some jobs only need the air. Land listings where the whole point is the acreage, build sites that need progress from above, roofs somebody would otherwise climb, and the establishing shot that tells a viewer where they are in three seconds.

Drone work here is flown legally and sensibly — airspace checked before the day, and I'll tell you up front if a site can't be flown rather than finding out in front of you. It books on its own or bolts onto any other service on this page.

I build ultra-modern websites for local businesses — the kind that load instantly, look sharp on every phone, and make a visitor take the business seriously before they've read a word. Custom-designed, not squeezed out of a template, and built lean so nothing about them is slow.

Around the site itself I fix the free things most businesses never get to — the Google listing, the hours nobody updated, the phone number that isn't tappable. It's a whole separate side of the work with its own page, its own prices, and a free check that tells you where you actually stand before you spend anything.

Sports, music, a family thing, a one-off idea you can't find a name for. The gear and the process are the same whatever is in front of the camera, and I'd rather tell you honestly that I'm not the right person than have you not ask.