Scenes shot of a journal created by DanRossiDraws on Etsy inspired by the game Bloodborne by FromSoftware. 2016.

Scenes shot of a journal created by DanRossiDraws on Etsy inspired by the game Bloodborne by FromSoftware. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series taken in the backyard to explore the decay of the middle-class home. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a red tinsel tree using long-exposure in day, night, and shadow. 2016.

Series shot in a Lighting Studio with a lighting ratio of 16:1. With this series I wanted to use the Studio Lighting to create a mood/presence when shooting certain objects. These objects consists of an owl knick-knack statue, a large blue marble, and a glass encased clock. Otherwise mundane objects, I wanted to make it seem like there was much more to them: Mysterious, powerful, fantastical, mystical. Nominated for the URECA Art Exhibition by Isak Berbic. 2017.

Series shot in a Lighting Studio with a lighting ratio of 16:1. With this series I wanted to use the Studio Lighting to create a mood/presence when shooting certain objects. These objects consists of an owl knick-knack statue, a large blue marble, and a glass encased clock. Otherwise mundane objects, I wanted to make it seem like there was much more to them: Mysterious, powerful, fantastical, mystical. Nominated for the URECA Art Exhibition by Isak Berbic. 2017.

Series shot in a Lighting Studio with a lighting ratio of 16:1. With this series I wanted to use the Studio Lighting to create a mood/presence when shooting certain objects. These objects consists of an owl knick-knack statue, a large blue marble, and a glass encased clock. Otherwise mundane objects, I wanted to make it seem like there was much more to them: Mysterious, powerful, fantastical, mystical. Nominated for the URECA Art Exhibition by Isak Berbic. 2017.

Series shot in a Lighting Studio with a lighting ratio of 16:1. With this series I wanted to use the Studio Lighting to create a mood/presence when shooting certain objects. These objects consists of an owl knick-knack statue, a large blue marble, and a glass encased clock. Otherwise mundane objects, I wanted to make it seem like there was much more to them: Mysterious, powerful, fantastical, mystical. Nominated for the URECA Art Exhibition by Isak Berbic. 2017.

Each photo in this series is of three pieces of gift tissue. Two pieces of tissue is of one color, and the last piece is of the color’s complementary color. The lighting then consists of a light with the gel of complementary color, and a light with a soft box. The lighting ratio is 1:1. Each photo is staged in light tent cube. 2017.

Each photo in this series is of three pieces of gift tissue. Two pieces of tissue is of one color, and the last piece is of the color’s complementary color. The lighting then consists of a light with the gel of complementary color, and a light with a soft box. The lighting ratio is 1:1. Each photo is staged in light tent cube. 2017.

Each photo in this series is of three pieces of gift tissue. Two pieces of tissue is of one color, and the last piece is of the color’s complementary color. The lighting then consists of a light with the gel of complementary color, and a light with a soft box. The lighting ratio is 1:1. Each photo is staged in light tent cube. 2017.

For this series I experimented with how light is captured through the camera from reflective surfaces, and how this effect changes when these surfaces are introduced to a low reflective material. The material used is an acrylic black developed by artist, Stuart Semple, entitled Black 2.0. When dry after one or several coats, the paint becomes very flat, very matte, and reflects little to no light, creating a dark void/Vantablack effect under certain lighting conditions. Through this series I not just want to manipulate light through device, but through material as well. 2017.

For this series I experimented with how light is captured through the camera from reflective surfaces, and how this effect changes when these surfaces are introduced to a low reflective material. The material used is an acrylic black developed by artist, Stuart Semple, entitled Black 2.0. When dry after one or several coats, the paint becomes very flat, very matte, and reflects little to no light, creating a dark void/Vantablack effect under certain lighting conditions. Through this series I not just want to manipulate light through device, but through material as well. 2017.

For this series I experimented with how light is captured through the camera from reflective surfaces, and how this effect changes when these surfaces are introduced to a low reflective material. The material used is an acrylic black developed by artist, Stuart Semple, entitled Black 2.0. When dry after one or several coats, the paint becomes very flat, very matte, and reflects little to no light, creating a dark void/Vantablack effect under certain lighting conditions. Through this series I not just want to manipulate light through device, but through material as well. 2017.

For this series I experimented with how light is captured through the camera from reflective surfaces, and how this effect changes when these surfaces are introduced to a low reflective material. The material used is an acrylic black developed by artist, Stuart Semple, entitled Black 2.0. When dry after one or several coats, the paint becomes very flat, very matte, and reflects little to no light, creating a dark void/Vantablack effect under certain lighting conditions. Through this series I not just want to manipulate light through device, but through material as well. 2017.

2017.