How did you first come across CMC, and what drew you to become a part of this collective?

I’m not going to lie to you – I can get wordy. I like to provide the full picture (pun intended), however here’s the short answer for those who like to cut to the chase:

I met Ashton Gooding and Charlie Lederer through a local photo club and they invited me to come to a CMC meeting and I was immediately hooked.

For those with the attention span for the full account, here it is:

In 2022, I officially turned my passion into a business by forming Crop Shop Studios. I took on weddings, proposals, events, portraits—you name it. But as the work piled up, I felt like money had become the driving force behind my photography. The joy was slipping away, and I wasn’t sure how to get it back.

That’s when I discovered In Good Company, a photo club founded by two of CMC’s directors, Ashton Gooding and Charlie Lederer. Their meetings happened two doors down from me, so I checked it out. Both of them practiced street photography—going out and shooting just for themselves—which inspired me to do the same and rekindled my excitement behind the lens.

Over time, Ashton and Charlie introduced me to CMC. I’ll never forget my first meeting: walking into a gallery full of photographers giving thoughtful critique, feeling both nervous and impressed. It didn’t take long to realize this wasn’t just a club—it was a true community.

Today, I’m proud to be part of CMC. The most rewarding part is not only growing myself but also watching my peers evolve into some of my favorite photographers

What draws you to pick up your camera—people, places, or moments?

All three inspire me, but people come first. Honestly, half the reason I picked up a camera was to connect with strangers. A camera either earns you instant trust or total skepticism—luckily, I enjoy both reactions.

I’m also a gear enthusiast. I knew I was in trouble when I started shooting film because analog cameras have so much character and nothing gets me going more than thoughtful design. My first 35mm camera was a Nikon F4 that I bought after hearing its shutter sound in Better Call Saul. My latest is a Contax G1—released in ’94 yet futuristic in design and function. I’m a sucker for any camera that makes photography feel seamless.

More than anything, I’m inspired by where my camera takes me. Mentally, I get excited knowing my best work is still ahead of me. Physically, it’s already brought me to fashion shows, sporting events, weddings—and soon, overseas. One of my mantras is, “If you don’t ask, the answer will always be no.” That mindset has opened countless doors, and I can’t wait to see where my camera and I are headed!

What story or feeling do you hope people take away from your photos?

I don’t want to prescribe one single takeaway—I’d rather my work spark different emotions for different people. That said, here are the types of images that move me:

Photos so well-executed you can’t help but wonder how the photographer pulled them off. Even more impressive when you realize it was all done in-camera. Cian Moore’s work is a great example of this.
Images of the seemingly mundane shown in a way that makes you view them differently. That sense of novelty feels rare as I get older, which makes it even more powerful
“Right time, right place” photos of fleeting everyday moments. So much has to align for those images to exist, and when it all comes together, it feels divine.

If someone has ever felt any of those things while viewing my work, then I know I’m on the right track.

Could you share 3–5 images from your most recent project or photo series?

These photos are from a session at Nula Studios with Nizzelle Myers. We met at NYFW in 2023, and she later reached out to collaborate. She said she wanted to do studio work and asked if I had any ideas. I didn’t—yet.

Then I remembered the crocheted outfit she wore when we first met, made by her friend Keke. That sparked the idea: let’s bring Keke in, showcase her handmade pieces, and incorporate yarn as a central element. We built a mood board together, and the shoot started to take shape.

On shoot day, we wrapped yarn around C-stands, played with color backdrops, and let the process unfold. Some of my favorite shots came from in-between moments—when Nizzelle was adjusting or laughing between poses. Another favorite came from a flash misfire that created a moody, accidental masterpiece.

This set turned out better than I imagined. What I loved most was how it pushed me out of my comfort zone. Nizzelle left with great photos for her portfolio, I left with new skills and inspiration, and most importantly we both walked away with memories we won’t soon forget!

Member Spotlight: Michael Cancelleri