My job is to help you make the best impression
My job is to help you make the best impression
Commercial photography covers every image a business commissions for a specific purpose. Advertising campaigns, product catalogs, corporate headshots, website content, investor materials, trade show displays, editorial features. If the image has a business objective behind it, it falls under commercial photography.
I’m a commercial photographer based in Colorado Springs, working with agencies, in-house marketing teams, and businesses nationwide. My work spans advertising photography, corporate photography, editorial assignments, product shoots, and full-scale brand content production. The common thread is that every image I deliver is built around a specific business outcome, not just a visual style.
Commercial photography is broad by design. It’s the umbrella category, and the specific services underneath it each have their own pages on this site. But not every project fits neatly into one subcategory, and many projects span several. A two-day production for a hospitality brand might include advertising hero shots, executive portraits, food photography, and aerial coverage of the property. That’s one project, one photographer, one cohesive visual direction.
The types of projects I take on include campaign photography for advertising and marketing teams, product photography for e-commerce and catalog production, corporate photography for companies managing their visual identity at scale, facility and operations documentation for manufacturers and construction firms, and editorial photography for publications and branded content programs. I’ve shot for tourism operators across the western United States, national food brands including Cold Stone Creamery and TacoTime, telecom infrastructure companies, construction firms, and independent businesses throughout Colorado.
If your project doesn’t fit neatly into one of the service categories listed on this site, it probably still fits here. Commercial photography is where I handle the work that crosses boundaries.
I don’t just show up with a camera and start shooting. That’s how you end up with 200 photos and nothing usable.
Before anything else, I need to understand what the images are for and how they’ll be used. Not just “the website” or “social media,” but which pages, which platforms, what messaging, and what your competitors’ visual content looks like. For agency clients, this is where I review the brief and clarify deliverable specs. For businesses working without an agency, this is where I help build the creative direction. Either way, the conversation takes 30 minutes to an hour and shapes everything that follows.
Once I know the business objective, I build a shot list and production plan. That covers locations, lighting, timing, talent or styling needs, and a realistic schedule. You see the full plan before the shoot. If something doesn’t fit your budget or timeline, I adjust before anyone picks up a camera.
Shoot days are structured and efficient. I work fast because your time, your team’s time, and your location access cost money. That said, I also pay attention to what’s happening in real time. Some of the strongest images I’ve delivered came from noticing something on location that wasn’t on the shot list.
Every image is professionally edited, color-corrected, and delivered in the formats your team needs. I don’t hand off raw files and call it done. The post-production process ensures consistency across the full set, whether that’s 15 images or 500.
Final deliverables are formatted for how your team actually uses them. That means high-resolution masters for print production, web-optimized files for your site, and platform-specific crops for social media if the project calls for it. File delivery is organized by category or usage so your team isn’t sorting through hundreds of files to find the ones they need.
Usage rights are defined in the project agreement before the shoot happens. Most business clients receive broad commercial usage rights covering web, social media, email marketing, and print collateral. Extended licensing for national advertising campaigns, third-party distribution, or exclusivity is quoted separately based on the scope of usage. You’ll know exactly what you’re licensed to do with every image before you pay for it.
Turnaround depends on volume and complexity. Most projects deliver within two to three weeks. Rush delivery is available when deadlines require it, and I’ll tell you upfront if a timeline isn’t realistic.
I work with three types of clients, and the process adjusts for each one.
Ad agencies, creative agencies, and marketing firms hire me as a photographer on client campaigns. I’m comfortable working from an agency brief with art direction provided, or handling creative direction independently when the agency needs that from me. Deliverable specs, usage rights, and timelines are scoped to the campaign requirements. If you’re an agency, I integrate into your workflow rather than asking you to adapt to mine.
Marketing directors and brand managers at mid-size and larger companies hire me for ongoing content production, campaign photography, and brand refreshes. These projects tend to involve more stakeholders, longer planning timelines, and specific brand guidelines that need to be followed. I work within those constraints and deliver images that are consistent with existing brand standards.
Business owners who take their brand seriously hire me when they need professional commercial photography that matches the level at which they operate. These projects range from product launches and website overhauls to full visual identity shoots. The planning process is the same regardless of company size. The scope scales, but the standard of work doesn’t.
Pricing is project-based. There’s no standard hourly rate because a headshot session and a multi-day advertising campaign are fundamentally different types of work.
Factors that affect pricing include the length of the shoot, the number of final edited images, production complexity (locations, talent, styling, permits), and the usage rights needed. A set of team headshots for your company website costs less than an advertising campaign with images licensed for national print distribution. Both are reasonable, and both are priced to reflect what’s actually involved.
I publish a detailed breakdown of how commercial photography pricing works, including what affects cost and how to budget for a project, on my pricing guide page.
I’m based in Colorado Springs, CO. I serve businesses throughout the Front Range and take on projects nationwide. For product photography, I offer a ship-to-me workflow where clients send products directly. For on-location work outside Colorado, I travel. I’ve shot projects across the Southwest, throughout Utah, and for national brands in multiple states.
Travel logistics and costs are scoped during the planning phase. If the project is right, geography isn’t a barrier.
Advertising photography is a subset of commercial photography. It’s specifically for paid media, campaigns, and branded content produced to an agency brief. Commercial photography is broader and includes everything from product catalogs to corporate headshots to facility documentation. If your project is specifically advertising-focused, I have a dedicated advertising photography page that goes deeper into that process.
That’s determined during the planning phase, not after the shoot. You get a defined number of professionally edited, ready-to-use images based on what your project actually needs. I don’t dump 500 unedited files on you.
Both work. Agency clients often provide detailed briefs and art direction. Business owners often describe the goal and let me build the creative approach. Most projects land somewhere in between, and I’m comfortable at any point on that spectrum.
It depends on scope, deliverables, production complexity, and usage rights. I price by project so you know the full cost before the shoot happens. My pricing guide page breaks down the factors that affect cost and gives you a framework for budgeting.
Usage rights are part of every project agreement. Most clients receive broad commercial rights covering web, print, social, and email. If you need extended licensing for national advertising or third-party distribution, that’s quoted separately. You’ll know exactly what’s included before you commit.
Yes. I work with ad agencies, creative agencies, and marketing firms as a hired photographer on client campaigns. I’m comfortable working from an existing brief or building creative direction from scratch. Deliverable specs, usage rights, and timelines are scoped to the agency’s campaign requirements.
Yes. I’m based in Colorado Springs but I take on projects nationwide. Travel costs are scoped during planning so there are no surprises.
If you have a project that needs commercial photography, I’d rather have a conversation about what your business needs than send you a generic pricing sheet. Tell me what you’re working on and I’ll tell you how I’d approach it.
If you know what you need, reach out with the details. If you’re not sure yet, that’s a fine place to start too. Most of the best projects begin with a short phone call where I can figure out what actually matters.