Editorial

In Rongo I made a signed form the precondition for every frame. The forms were drafted the day before, so nobody was asked to decide with a camera already in the room. After that I asked one question before every photograph. Consent form signed? By the third time it had stopped being a question and become procedure. No form, no frame.

The form is where the work starts. I have gone back to the consent documentation in the middle of an assignment and then left the room without making a frame. Knowing when to put the camera down matters more than knowing when to pick it up.

In a forest in Uganda I sat with a community I did not belong to. They welcomed me and they asked me questions. Afterward the Mpologoma clan claimed me and gave me the name Sentale, which in Luganda translates roughly as centered. They chose it because they judged my answers balanced, fair, and honest. They were not naming a photographer.

Editorial for Brands

The line between publication editorial and brand storytelling has mostly closed. Companies publish their own work now, and readers hold it to the standard they hold a magazine to. An origin story, a process feature, a shift on the production floor. They work when they read as genuine, and they read as genuine when the photographer learned the craft somewhere the story could not be arranged.

First Prize, Young Travel Photographer of the Year, for a photograph made in Kilgoris, Kenya, on a Nikon D700. That year's winners were shown at the Royal Geographical Society in London, in a run the organiser recorded at more than 48,000 visitors in 38 days. Nominee, Children of the World, Photography Masters Cup / International Color Awards. Finalist, Travel Photographer of the Year, Land, Sea, Sky, Best Single Image in a Portfolio. Published in BBC, The Guardian, The Telegraph, Yahoo, MSN, Photo Technique, and The Phoblographer.