While interning at the Alameda Labor Council, I had the opportunity to photograph people at the Labor Day No Kings rally.

This photo began as an unplanned moment.

On the island of Mo‘orea in French Polynesia, pressures of modern life have forced many indigenous Māʼohi families to rely on tourism for financial security.

Oftentimes, when I think about history, I find myself assuming that the events of the past are divorced from the present, confined to my heavy textbooks.

This photo was taken on an especially foggy and damp day the beginning of fall.

This digital self-portrait explores the contrast between how I define myself and how others label me.

I spent the last summer in DC where I was living by myself.

Jellyfish have always been a significant part of me.

A moment before dusk where I capture the beauty of modern vehicles.

This photo uses a construction setting to represent the reality of growing up.

This was part of my senior portrait series.

At the end of the Bui Vien Walking Street, Vietnamese lanterns are hung, illuminating the surrounding darkness.

To me, childhood looks like raspberries.

After a morning of heavy rain, I stepped outside hoping to photograph pooled water on leaves or flowers.

This piece was a shot that I captured for a project in advanced studio-art photography, and although it seems silly, I feel as though their are some deep themes within my photo.

This photo took of my father standing on the railway platform looking so melancholic contrasts sharply with the industrial architecture of the high rail canopy.

I saw this on a walk, thought I should save the memory.

This picture is a vibrant, cinematic shot of a football team under the warm California sun.

This photo depicts a newspaper headlined, "The World Is Ending."

I came upon this doorway during a visit to the Don Edwards salt ponds with my family.