Unlike this text, I don't fit in a box.
I don't fit in a box.
That's the point.
I started in newspaper photo departments. Since then I’ve done TV and digital ads for a gubernatorial campaign, films for global convenings, documentary work across three continents for a former President's foundation, State of the State visual presentations, public health campaigns during a global pandemic with tens of millions of views. Same instinct throughout: make something that matters, get it right, get it done.
I'm not an agency. I'm a person. One with a very specific track record in political, philanthropic, and institutional communications across every medium. When something important needs to be made, and it needs to be right, and it needs to be out the door by tomorrow, that's where I do my best work.
I take on a selective range of consulting and project work. If you have a hard problem in the creative communications space and you need someone who gets it and gets it done, let's talk.
The proof is in the pudding.
Event photography, handled.
Run With It Productions is my event photography production company, built around a simple insight: photos aren't the hard part. The hard part is having a production operation that works — crew, workflow, metadata, and delivery built around how your organization functions.
I built RWIP to serve conferences, summits, galas, and institutional events where the communications team needs assets fast and needs them to be right. Same-day selects. Organized, metadata-rich delivery. A Frame.io, Cloudflare Worker Node, and Airtable-based integration and delivery pipeline I built myself.
Clients include the Clinton Foundation, DNC, Biden Victory Fund, GIFFORDS, and major foundations, associations, and nonprofits nationally.
Visit
Making public health campaigns from scratch, in 48 hours, during a pandemic.
Director of Creative, New York State Executive Chamber
When Covid hit New York, there was no playbook, no budget line, and no time. There was a platform with massive reach, a public that needed clear information fast, and a small in-house team that had to figure out how to make broadcast-quality campaigns from nothing.
That team was me and two other video producers. I was the lead creative — conceiving the campaigns, writing the scripts, directing the shoots, editing the spots, and getting them out the door, often within 48 hours of the idea.
2018 – 2021
The campaigns—Mask Up America, Stay Home Stop the Spread Save Lives, It's Up To Us New York—ran nationally through Ad Council free slots and were seen more than 38 million times. Artists and musicians donated rights to their work. Jane Rosenthal of Tribeca Films came on as a producing partner, opening doors to licensed music and professional voice talent we wouldn't otherwise have had access to.
On the Mask Up America sports team rivalry spot, that voice talent was Billy Crystal. Concept to finished spot in one day. On another spot, we brought in Paul Rudd, filmed in our Midtown press room, one day, no rehearsals. We built a Sean Evans cameo into the end of it specifically to extend reach through his existing audience.
I also directed the State of the State visual presentations—large-scale LED wall productions with no rehearsal, working off constantly evolving speech drafts, making timing decisions live in front of a room of a thousand lawmakers, advocates, and state officials. During Covid, with no in-room audience, those became something closer to a live broadcast production.
Over my tenure, we grew the state's social footprint to make it the most followed governor's office in the country.
The right film, at exactly the right moment.
Deputy Director, Marketing Creative & Content, Clinton Foundation
2013 – 2018
I spent nearly five years at the Clinton Foundation, growing from Multimedia Manager to Deputy Director of Marketing, Creative and Content. By the end, I was leading a team of designers, writers, and producers — directing creative and video production across digital, social, and live events, and representing the Foundation's creative vision across its initiatives and programs.
The work I'm most proud of came at the worst possible moment. In 2016, two weeks before the final Clinton Global Initiative event, the team asked for a sizzle reel highlighting the organization's twelve years of work.
I said no to the sizzle reel.
Instead, we put the staff on camera and told their stories. It's harder to attack real people talking about the real work they do every day. I won the internal battle, made the film, and it played in the room leading up to President Clinton's final CGI speech. It landed exactly the way I believed it would.
I also traveled extensively with President Clinton, documenting the Foundation's work across multiple continents. Moving with the delegation, shooting on the ground, editing on the plane, filing back to New York the same day to keep the story going in real time. Up early to get to each site before anyone else arrived. Then doing it all over again.
Selected work
Clinton Global Initiative — Final Event Film
Field Photography
Where the craft got built.
Video Producer, TVGuide.com & AOL / HuffPost
2009-2013
Before the Governor's office and the Foundation, there was the media industry — where I learned to shoot, edit, produce, and light at volume and at speed.
At AOL's PopEater, I was responsible for all video content and drove monthly views to over 12 million. At TV Guide, I shot, edited, produced, and managed the in-house studio — growing original streaming by 103% during my tenure.
These were not glamorous jobs. They were exactly the right training for everything that came after: high output, fast turnaround, no one holding your hand, and the work either worked or it didn't.
The eye was built at a newspaper desk.
Before any of this, I was a photojournalist. Daily assignments at the Jersey Journal, the Morning Call in Allentown, Newsday. Spot news, features, anything they sent me out to cover. Early mornings, late nights, working fast with what was in front of me.
That's still the foundation. Everything I've done since—the campaign videos, the Foundation films, the event photography, the communications work—runs on the same instinct I developed shooting news on deadline. See the moment. Make the frame. Get it right. Move.
Photo Internships
2004-2008