Q: Tell us a little bit about yourself and your family:

Professionally-speaking, my first job is at home — a stay-at-home-dad to my three toddlers. To summarize my world, however … my family has volume. And by this, I don’t mean “size.” It’s loud around here! We chose to keep the house we lived in before our first child was born, so we’re space challenged and intimate. But with kids under our feet, a dog cleaning up the crumbs, and a minivan in the driveway … it gets a little crazy around here. Frankly, I wouldn’t have it any other way.

Q: Did you study photography in an academic setting?

Yes and no. My dad was a photographer and taught me some amazing concepts about light and the mechanics of photography. I’m positive I learned things from him that simply would not have been part of an academic curriculum. Otherwise, I learned most technical aspects by apprenticing with the right photographers.

Q: How long have you been shooting professionally?

I technically started shooting in 1989 — taking pictures for the Johnson County MLS. After that, I shot some news and editorial stuff, but I didn’t take well to that field for a number of reasons — a few of which I’ll post about on the blog. I started shooting weddings in 1999. Back then, photographers really never just opened up a shop and started shooting cold like they do now. It was unheard of. I apprenticed for a couple of years before starting out on my own.

Q: Many people don’t know that I (Adrienne) shot your wedding many years ago. Care to share that experience?

Sure! I met you shortly after you moved to Kansas City — at a Starbucks of all places. We were both conducting client consultations, and, at some point, I noticed your albums … the rest is history. In fact, I remember thinking that you were crazy to still be shooting film (though I was secretly jealous)! Honestly, I love peeking into the “eye” of other photographers — how they interpret light, and how they approach the wedding day. But I’ve found that photographers tend to be a bit protective of their approach and we don’t always open up. What immediately struck me about you (in addition to the cool Southern accent) was your willingness to just chat about your work and freely share your ideas. You were actually excited to talk to me about your work. When it came time to choose a photographer, you were our only choice. So, I was a bit nervous before I gave you a call!

Q: I know that I pushed against the digital revolution for years. What are your thoughts about digital imaging & how hard was it to make the change?

I honestly didn’t know what to make of digital when it was unclear whether it was going to be a viable medium or just a “trend.” I’m amazed that in just a few years, we all work like digital has been part of our workflow forever. Film, which had been the primary photographic medium, simply disappeared in just a few years — a really unparalleled technical shift. The transition for me was complicated, though, and I was fortunate to have relationships with some fantastically talented people who helped me along. In 2002, for example, I shot weddings with three different types of camera — medium format film, 35mm film, and digital. So I had to juggle three completely different types of shooting with three different forms of product (film of varying sizes and files). After a few weddings like that, I simply sold my film equipment and invested in professional digital equipment. I was all in.

Q: With the digital revolution, you & I are now seen as more traditional photographers because of our experience with film & our desire to create lasting images rather than going with the latest trends. But yet we still have slightly different visions. How would you compare your style to mine?

We do and we don’t. We both blend the same elements of spontaneity and life into our photographs. But, unlike more traditional photographers, I let the image come to me … I never force the image or my subject. Photography really isn’t like engineering — we shouldn’t be constructing a picture based on some kind of formula. The perfect image for me is always the one I never actually planned. In this way, we both implement the same philosophy. We differ a bit about how we interpret the final image. I tend to shoot my images with a punchy, vibrant final image in mind. This is actually what excites me most about the partnership — that we embrace similar beliefs about the shoot with slightly different ways of presenting the final product.

Q: What kind of equipment you use? Do you have a philosophy that drives your choices?

I shoot exclusively Canon products — 5D and 5D Mark II bodies. My general philosophy: less is more. I attended a seminar over ten years ago. The presenter was a well known and outspoken photographer from Australia. During the discussion, he looked around at everyone and asked how many lenses, bodies, gadgets, and tools we carried. Of course, fellow photographers competed to have the “biggest bag,” so to speak. He stopped us in the middle of our self-served equipment demonstration to say something that’s stuck with me ever since. “If you carry more than two lenses, you’re compensating.” And he’s absolutely right. We often fall victim to stuff without learning the most important lesson — that equipment doesn’t make the photograph.

Q: What makes weddings interesting to you?

First of all, I love being around people. This is, in itself, odd because I don’t much like to be the center of attention. Most people know that I’m quiet and very reserved, so the idea that I love being part of such a big event is strange. But I love watching, listening, and witnessing the evolution of the day — the way a bride changes and grows throughout the day. This ultimately feeds my love for the moment and, subsequently, my ability to excel as an observant shooter.

Q: How often do you photograph your own children?

You know, if I didn’t photograph my kids, I think I might lose passion for the craft. That sounds odd, but they’re always around – always doing something new and interesting. They’re like walking news stories. You have a daughter now, so you understand the mechanism and how things always seem “new.” Last spring, I decided to walk around with my camera on a random morning. Instead of photographing a particular event or occasion, I was curious what the morning would look like on “film.” You can view the slideshow HERE

Q: Care to share a few pics from some recent shoots?