Me in a Nutshell
For as long a I can remember, I’ve been drawn to cameras and photography. After years of dabbling in it, I made a firm commitment to the art form in the spring of 2011. I began by selling prints at a flea market in Houston called Traders Village. Soon after, I secured a few clients and began learning on-the-fly how to be an entrepreneur and photographer. It was a wild ride. Opportunities came to me in the too familiar feast or famine flow that artists across all spectrums have come to know intimately.

In 2013 I landed a day job with a local nonprofit in Houston. Before I knew it, five years had gone by. In that time, I drifted from my passion. Months had gone by since I’d even touched my camera. In a perfect confluence of monumental events, I met my wife and quit that unfulfilling job.

In my quest to figure out how to be an artist again, I began experimenting with film photography. The entire process spoke to me in a way that digital never has. Aside from the aesthetics, there was a critical piece to its workflow that enabled me to connect on a deeper level with my subjects. As film is a finite resource, it requires more planning and thoughtful intent. There is no way to fix any mistakes that are made with exposure and focus, because you can’t see your results until you’ve developed your film. It makes you prepare as much as possible for your photo shoots, which leads to higher quality work overall.

But aside from the procedural differences, there’s a tactile charm to operating a film camera. Instead of the soulless flipping of a switch, you’ve got to load your film and go through all the checks before you’re ready to shoot. This even more pronounced when you use older, mechanical cameras, like I often do. The little clicks, clacks, and squeaks that come with film advancing and lens adjustments, makes it more meaningful for me in the field. It serves as a constant reminder that tethers you as much to your machine as it does to the scene you’re in.

I wouldn’t know just how bonded I was to the film process until the pandemic hit in 2020. With the world falling apart, I took the highways and backroads of Texas, in pursuit of rugged beauty and historical documentation. The Texas project began before the pandemic did, but as covid emerged onto the scene, my little project bloomed into an epic journey of exploration.

The subsequent book that I’ve been working on for the past four years, has been a journey unto itself. As I’ve worked and reworked its narrative structure, a memoir emerged from it all. It’s still in progress, but I hope to complete it by the end of the year.

My Workstyle
Unconventional. Independent. Curious. Those three words sum up my philosophy in general. Any project that allows me the freedom to operate within these parameters will be fruitful for a potential client. I specialize in portraits and events, with a hyperfocus on helping my clients express themselves in an authentic way. Whether it’s event photography or portraits, I’m all about capturing moments in their natural form. In general, I use my professional Canon Eos full frame system for commercial work. But where art is concerned, I shoot film exclusively.

One of My Tools
This is my 1944 Graflex Speed Graphic 4x5. It was the go-to camera for photo journalism in the 40s and 50s. I use it for landscapes that don’t require exact technical precision. The lens mounted in this photo is an equally old Kodak Anastigmat 6 3/4 inch f4.5. I captured it using my Mamiya C220 and an 80mm portrait lens. Captured on Fomapan 200 black and white film, you can see why I prefer film over digital. There’s a soul to this image that digital can’t compete with, in my opinion. Intention and wonder play a vital role in ensuring that I continue to remain inspired to create.

bayoucityprints@gmail.com
Tel. 832.693.0311
Instagram @bcityprints