Answers, up front.

Not the kind you're bracing for. The first conversation is a working one — what you're trying to do, whether this is the right way to do it, and what it would take. Part of the job is saying when it isn't a fit, and some of those calls end with a recommendation and no project. Emailing here doesn't put you on a list, and nobody follows up three times to check in.

Real numbers are on the services page now, which should save you an email — a set of graphics starts at $450, a highlight feature is $400, a full event package is $1,200, an identity system starts at $1,800. Put your scope, your timeline, and a rough budget in the first email and you'll get an honest number back before anything is booked, including a straight "that's not enough for what you're describing" if that's the answer. If you're fundraising toward it, say that too — it changes how the scope gets built, not whether you get taken seriously.

Sometimes, honestly, no. One operator means a finite calendar and no being in two gyms on the same Friday night. If your timeline needs a crew, you'll hear that up front rather than after you've signed. What it buys you the rest of the time is that the person who scoped the work is the person who shoots it, edits it, and answers the email — no account manager, no junior handed the file, nothing lost in a handoff because there isn't one.

Some of it would be. A full identity system plus a season of content is the wrong first move for a program with twelve kids and a booster budget. That's why most people start with one thing — a logo, a Senior Night run, a team store, one game-day package — and add later only if the first one earned it. High school and club programs are who this was built for, not a scaled-down version of the real client.

It happens, and it's almost always a direction problem, not a taste problem. Direction gets agreed before production starts and there are checkpoints along the way, so the first time you see the work is not the first time you get an opinion about it. Revision rounds are written into the scope up front, so the number isn't a negotiation later. And if the direction is wrong at the first checkpoint, say so then — being polite about it for three weeks costs you more than the honesty does.

Email a short note about what you need. If it's one piece of work, you'll get a quote back and we go. If it's an identity system, a team store, a season of content, or a full brand and website build, we book the consultation first, then scope the work and send an estimate before anything is built.

Because it's work, not a pitch. It also isn't always required — if you need one thing made, just tell me what it is and you'll get a quote back with no call and no fee. Program work — an identity system, a website, a team store, a season of content — is where the consultation applies, and a paid hour there means I prepare for it: a real read on the project, the scope it would take, and a budget range grounded in the work instead of a number designed to get you in the door. It keeps the calendar honest too — one operator, finite hours. Book the project and the $150 comes off the invoice.

We talk about the program, the moment you're building toward, and what has to be true for the project to be worth doing. You get an honest read on whether it's worth building and whether I'm the right person for it, plus a written follow-up with the direction we landed on. If I'm not the right fit, you'll hear that on the call rather than three weeks in.

Per-service starting prices are published on the services page; the exact number is scoped before anything is built, because no two programs need the same thing. A 50% deposit starts the work and the balance is due at delivery. Larger builds are staged across the project instead, and the schedule is named in your scope.

Yes. Take one service or combine several. Most relationships start with a single project and grow once the standard is clear.

Usually within a couple of business days. You'll hear back from the person who does the work, not an auto-responder.

Coaches, athletes, programs, schools, clubs, local businesses, and creators — from high school and club levels up.

Remote by default. Shoots, game-day coverage, and on-site work are arranged per project depending on location and scope.

Probably, yes — as an example of my work, on the site, in the portfolio, and the occasional social post. You still own the work. I never sell anything featuring your logo, your people, or a player's name or likeness. And if you ever want a piece taken down, one email does it, no explanation needed. If you'd rather I didn't show the project at all, say so before we start and I'll note it in the scope at no cost.

You do. Final files and assets are yours on final payment, with ownership and usage terms spelled out in the scope up front. Two honest exceptions, both named in every scope: the reusable templates and systems I build on stay mine and you get a licence to keep using them, and any licensed font, stock, or vendor asset transfers on whatever terms its own licence allows. No hostage files — but no promises I'd have to break someone else's licence to keep.

Each store is scoped to what you need. Because it runs on a timed order window, there's typically no inventory to buy up front.

A set window, usually one to two weeks, agreed up front. Closing the window keeps production batched and pricing fair.

Yes. A fundraising margin can be built into pricing so a portion of every order goes back to the team.

The store is being stocked. Join the list on any collection page and you'll hear the moment new gear goes live, or reach out about a custom run.

Production and fulfillment run through Shopify and Printify. Custom team runs can ship to individuals or in bulk to the program.

Yes — custom apparel, posters, prints, and small goods, designed to the brand standard and made to hold up. Email us to start a run.