About Matt

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Photography wasn’t supposed to become this big part of my life.

My “real job” is dentistry. I bought a camera years ago mostly to take photos around the office. But once I started using it, something unexpected happened — I realized I loved figuring out how images worked. The technical side of cameras mixed with the creative side of seeing the world differently. Before long I was completely hooked.

The first thing I became obsessed with photographing was sharks.

I started watching documentaries and paying attention to the credits just to figure out where those images were taken and how I could get there. Before I knew it I had bought an underwater housing, booked a trip, and found myself a day and a half offshore in the ocean trying to photograph animals that most people are terrified of.

I didn’t really know what I was doing.

But the first time a hammerhead shark passed close enough to fill the frame, that was it. I was all in.

For years I chased underwater photography all over the world — sharks, manta rays, tiny macro creatures hiding in coral. Every dive felt like opening a mystery box. You never knew what you might see.

Eventually curiosity pushed me into other types of photography. I started experimenting with studio lighting and fashion photography. That led to one of the more unusual things I’ve done: underwater fashion shoots in pools around Nashville. It was chaotic, challenging, and completely different from photographing wildlife.

But every step taught me something new about light, timing, and storytelling.

Over time my attention shifted again — this time toward landscapes.

I started seeing images from Iceland and couldn’t believe places like that existed on the same planet I lived on. Volcanoes, glaciers, black sand deserts, rivers that looked like veins running across the land.

So I went.

And then I went back again. And again.

Cold places have a kind of gravity to them. Greenland, Iceland, the Arctic — these environments feel raw and unfinished, like the earth is still actively shaping itself.

That’s what draws me there.

Sometimes the images are dramatic landscapes. Other times they’re aerial abstracts taken from a small airplane or a drone, where rivers and ice fields start to look like paintings.

I’m not trying to “create” scenes.

Most of the time I’m just trying to notice something that was already there — a pattern in the ice, a moment of light on an iceberg, a shape in a river delta that only exists for a few minutes before it changes again.

Photography gives me a reason to go to these places and pay attention.

The images here are simply the record of those moments.