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This is Chelsea Conrad — one of those sets that just sticks with you.

I had put out a few images from this shoot a long time ago, but going back through everything recently, I realized I never actually released the full set. That’s been happening a lot… digging through older work and finding complete sets that never saw the light of day. So I’ve been revisiting them this week and finally putting them out the way they were meant to be seen.

This one was shot in a house up in the Hollywood Hills, literally right below the sign. I think this was only my second time ever in LA, and honestly one of my first real “LA” experiences. I had rented an Airbnb up in the hills with Faith Marone, and it was one of those moments where everything just felt different — the light, the environment, the energy. It was the first time I really got to shoot people out there, and you could feel that shift.

Chelsea was incredible to work with — still one of my favorites to this day. Super natural in front of the camera, and she just understood how to move without overthinking it, which is what makes a set like this work.

From a photo standpoint, this set is all about that natural window light. Big open windows, soft highlights, nothing forced. Letting the light wrap and fall off naturally gives you that cinematic, almost film-like feel without having to overdo anything. The tones stay warm, the skin stays real, and it keeps everything grounded.

Looking back at this now, it’s funny — at the time I probably didn’t think much of it beyond “this is a cool shoot,” but it ended up being one of those early moments that shaped how I approach everything now.

This set includes the full, unreleased images — the way it should’ve been from the start.

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