THE BOOTH
A Study in Reversal and Repetition
As a full-time photographer, I’m rarely anywhere without a camera in hand—documenting, observing, framing the world from behind the lens. But when I travel, often alone, I seek out analog photo booths as a way to reverse that role. Inside that small, dimly lit box, the photo booth becomes the photographer, and I become the subject. It’s a quiet exchange of control—a moment where I’m no longer directing, but simply existing, captured in real time. Sometimes friends squeeze in beside me, our laughter spilling into the frame, but more often these strips are solitary markers—evidence that I was there, in that exact moment. The camera turns on me, and in doing so, creates a record that feels both deeply personal and strangely detached. In THE BOOTH, four poses become moments of surrender. Hold still, let go, and wait for the next sit.
The photo strips below were taken in Orlando, Florida; Milan, Italy; Paris, France; New York City, New York; Amsterdam, Netherlands; Porto, Portugal; Dallas, Texas; New Orleans, Louisiana; and Marseille, France—each one a small, mechanical witness to a fleeting version of myself.