I was introduced to photography at a young age when my dad gave me my first camera. I quickly discovered the power of framing the world through my lens. The camera became more than a tool of observation—it was a way to enter new environments and connect with people across cultures. 

My perspective is rooted in portraiture: faces, gestures, and the ways people choose to present themselves. Portraits create moments of recognition and dialogue, where presence is preserved with authenticity and memory. 

The street is where I often find my subjects. Street photography is an act of encounter—fast, surprising, and unpredictable. It opens space to connect with strangers in passing and to discover what they reveal in a brief exchange. 

Learning the history of photography led me to the tintype, one of the earliest portrait processes. Its slowness reshaped my practice—each plate requires stillness, patience, and dialogue, turning the image into a tactile artifact that connects today’s subjects to a 200-year-old tradition. 

By bridging the immediacy of the street with the ritual of tintypes, I document presence and recognition—asking how we see each other, how we carry our stories, and what endures across time.

The Ta Project combines tintype portraiture and street photography to explore identity, resilience, and how people are seen. The project began in New York City, whose diversity and movement provide the perfect stage. Tintypes, made through a 19th-century process, require patience and intimacy. Each plate becomes a unique artifact, created through ritual and dialogue, binding subjects to history. In 2025, this slowness feels urgent: in a culture where images are made and forgotten instantly, the tintype resists speed. It creates space for presence, for listening, for asking what deserves to endure.