LOCATION PRODUCTIONSome shots you have to go get.
j81 shoots commercial work on location — including the inconvenient kind. If the image your brand needs sits at the end of a bad road, that's not a problem. That's the assignment.
HIKE.
SWIM.
SKI.
CLIMB.
PADDLE.
OFFROAD.
FLY.
CAWL.
HIKE. SWIM. SKI. CLIMB. PADDLE. OFFROAD. FLY. CAWL.
Whatever the terrain asks for.
WHY IT MATTERSReal places sell.
Audiences are getting good at spotting synthetic imagery, and they punish brands for it. The research is blunt: AI-generated ads read as low effort, and buyers of anything premium hate low effort. A photograph made somewhere real, by someone who carried the gear there, says the opposite. Effort is the message.
Franconia Ridge, New Hampshire - 5:40 a.m. Shot, not rendered. 
FIELD RECORDThirteen locations.
Four days. One island.
In 2025 I flew to Barbados for a fragrance brand and covered thirteen locations in four days — beaches, hillsides, working interiors — hauling hundred-pound gear crates solo in near-100° heat. Everything shipped. A year later, we're still working together.
Twenty years of planning shoots from the agency side means the logistics get solved before the plane boards. On location, that's the whole game.
Heat, salt, humidity.
Caribbean brand and product work is already in the book — island production days, jungle plantings, product on the sand where it's actually made. The gear survives it. So do I.
Cold doesn't cancel the shoot.
New England winters are the training ground. Frozen sunrises in the Whites, whiteout days above treeline, Icelandic backroads in November. If your brand needs snow, we don't wait for the stock libraries to fake it.
Above and below the waterline.
PADI Advanced certified. Product, process, and environment work doesn't stop at the surface — and for anything that floats, the half of the story underwater is usually the half nobody else shot.