Adela Navarro Bello for Newsweek

mainstream media

Last month, I had the honor of photographing Adela Navarro Bello, editor of Tijuana’s investigative weekly Zeta. This year, Bello is included in the Daily Beast/ Newsweek’s list of “150 Women who Shake the World.” You can read all about her here, here, or here.

I was starstruck while shooting. Wanna know why? Just watch this short video clip, produced by the Committee to Protect Journalists.

Also, she had a black leather bull whip on one of her shelves– a present, Bello told me, from her reporters.

Hearts Apart Shoot: The Rivera Family

file under: hope

U.S. Marine Joseph Rivera kisses his wife Alissa at Camp Pendleton in California.

My friend & fellow photog Krista Kennell is the West Coast Coordinator for, recruited me to become a volunteer photographer with the nonprofit. They match professional photographers with military families about to deploy for portrait sessions.

From their website: was created to keep families connected while our military men and women are serving abroad. Through the efforts of our community’s finest photographers, provides our soon to be deployed servicemen and women with pictures of their spouses and children. The photographs are printed on waterproof and durable bi-folded cards, which fit securely in their uniform pocket. believes that our military personnel deserve and need the memory of their families to carry them through the difficult times that lie ahead.

Finding Fernanda: Pictures from an Investigation

clips, photojournalism

The New YorkerFinding Fernanda: Pictures from an Investigation

Finding Fernanda,” the first book by the photojournalist and investigative reporter Erin Siegal, uncovers pervasive fraud in the international adoption industry, specifically between Guatemala and the U.S. It’s not a photo book, but photographs are central to its conception.

The story began in December of 2007, when, on vacation in Guatemala, Siegal found herself surrounded by over a dozen American couples leaving Guatemala City airport with newly adopted children. “There was something very surreal about the scene because of the quantity of children leaving,” Siegal told me. “At first, I thought I’d shoot a simple photo story on international adoption, using images alone, and maybe some audio, but the more clips I read, the more I realized that the subject matter didn’t seem well-suited to visual reportage.” Nonetheless, as her reporting unfolded, Siegal found herself relying more and more on photography as a tool to inform her writing. “I needed to be able to describe scenes visually in the book, to keep things vivid, and it really helped having photos and video to rely on for description,” she said. Photos alone would not be able to tell the complex story Siegal was uncovering, but the story could not be told without them, either. “The road to this book included a lot of reflection on photography and the limitations of the craft, in terms of being able to tell in-depth investigative human rights stories,” Siegal told me. “I never meant to write a book; the story simply demanded it.”