Published Work
Eighteen published cookbooks and a wine and travel book, magazine features and covers, packaging and national campaigns — twenty years of my work in print.
In print.
Nineteen published books.
Eighteen cookbooks and a wine and travel book, plus magazine features and national brand work.
Cookbooks
TheRuby
The Gold Edition
Pomegranates & Saffron Nabati- Vegetarian Vegan
Homegrown Herbs
West Coast Prime Meats
Smart Mexican Food Diet
Salsas
Farm to Table Desserts
Sweet Without Sugar
The Whole Pregnancy
Terranea Resort
Brightline Eating
Moorish Fusion Cuisine
Jack Daniel’s (Black Book)
The Tequila Diet (cocktails)
San Antonio Winery
A World of Tiramisu
Magazines
Westways Magazine - "Bon Appétit"
Good Housekeeping
Great Taste Magazine
Where Magazine - OC & LA
Riviera Magazine
944 Magazine
Orange Coast Magazine
Urban Coast Magazine
Laguna Beach Magazine -Cover
Atmosphere Magazine
Nightguide Magazine
OC Metro
Pastry and Baking Magazine
Coast Magazine
Locale Magazine
SouthBay Magazine - Cover
Diablo Magazine
Dessert Professional Magazine
Newport Beach Magazine - Cover
Terranea Magazine
Ventura Magazine
Tasting Panel Magazine
SOMM Journal
Sauté Magazine
Hamiinat Magazine
International
FOUR Magazine
Diario La Razón
Style Magazine
Crave Magazine
Good Food Magazine
Upscale Living Magazine
Revista Hogar Magazine
Chefs and Pages Magazine
Argentina Class Magazine
Grand Lucayan Magazine
Gastranomie Magazine
Durrah Magazine
Online
The Bahamas Weekly
Happy Hour Magazine
ATOD Magazine
Food Beast
The Daily Meal
CBS News - Los Angeles
Laguna Beach's Best
The BEST - Orange County
Fullerton Foundry
Food Enthusiast Magazine
Liquor.com
Stu News Laguna Magazine
ABC News - Los Angeles
Pioneer Chef Magazine
Examiner
Visions Gourmandes
Bokēh Magazine
Published work
Twenty years of my food photography have ended up in print — eighteen published cookbooks and a wine and travel book, magazine features, packaging and national campaigns — alongside the restaurant and brand work I shoot across Southern California.
Print is an unforgiving place to put a photograph. There is no crop to hide behind, no scroll to carry you past a weak frame, and a book lives for years. It is the work I am proudest of and the reason my restaurant menus look the way they do.
What a book takes
Two hundred plates, one visual language
A cookbook is not a menu shoot with more dishes. Every image has to belong to the same book — same light, same surfaces, same distance from the plate — across weeks of shooting and hundreds of recipes, so that a reader flipping through never trips over a frame that came from a different day.
I shoot to a layout, not to a wishlist: verticals where the designer needs verticals, space for type where type has to go, and process shots that actually teach the step rather than decorate it.
-
We build a shot list against the manuscript and group recipes by set-up rather than by chapter, which is what keeps the schedule and the budget sane. Surfaces, props and backgrounds are locked before day one so nothing drifts.
Food styling matters far more on a book than on a menu, because a dish has to hold for an hour and be right in every detail. For book work I bring a stylist in and quote it separately.
Also in print
Magazines, packaging and campaigns
Magazine features and covers, product packaging, menu boards and national advertising campaigns. The same standards apply whether it is a three-hundred-page book or a taco truck’s new menu board — the scale changes, the lighting does not.
If you are commissioning a book, a feature or a campaign, tell me the deadline and the page count and I will come back with a straight number and a schedule. You can see the cookbook work here.
Cookbook and editorial questions
-
Eighteen published cookbooks to date, plus a wine and travel title — nineteen books in all — alongside magazine features, covers, packaging and national campaigns.
-
Books are quoted by the project rather than by the day, because the variables are the recipe count, the number of set-ups, how much process photography the book needs and the schedule. Tell me the page count and the deadline and I will come back with a number and a shooting schedule.
-
A hundred-recipe book is usually eight to fifteen shooting days spread over several weeks, grouped by set-up rather than by chapter. That grouping is what keeps a book on budget.
-
Yes. Book work is where a stylist earns their keep, because a dish has to hold for an hour and be correct in every detail, and the recipe has to actually work on the page. I bring a stylist in for book projects and quote it separately.
-
Yes, and it is worth planning properly. Step photography has to teach the step, not decorate it, which usually means shooting hands at work in the same light as the finished dish so the spread holds together.
-
Yes, and I prefer to. Give me the grid and I will shoot verticals where verticals go, leave space for type where type lands, and keep the crop room a designer needs rather than filling every frame edge to edge.
-
That is set out in the agreement before we start, and it varies with publishers. For my restaurant and brand work the images are yours outright with no licensing tiers; publishing contracts usually work differently, so I put it in writing up front.
-
Yes. Features, covers and editorial packages, working to the art director’s brief and the magazine’s deadline.
-
Orange County, and I work across Los Angeles, San Diego, Riverside, Corona, San Bernardino and Palm Springs. Book and campaign work regularly takes me beyond Southern California.
Let’s make the next one.
Working on a cookbook or campaign? I photograph complete books and projects, from the cover to every page.