Diggles Photography

10/20/2026

More photos from our shoot of OZ Architecture's corporate office and workspace renovation, focusing on the details that make the spaces feel cohesive and intentional. From material selections and custom finishes to lighting, furniture, and architectural details, these photographs capture the character of the project from a closer perspective.

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10/13/2026

We recently got to work with OZ Architecture to shoot a corporate office and workspace renovation. We used a combination of wide-angle photographs to establish the overall spaces, and detailed photographs to highlight the materials, finishes, and design elements that bring the project together.

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10/06/2026

Congratulations to Tomlinson Designs on their article in Colorado Homes & Lifestyles Magazine! This much-deserved feature walks through their recent new build project in Fort Collins, CO, which we had the pleasure of photographing. Read more: https://www.coloradohomesmag.com/beautifullylivable/

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This residence offers the best of easy indoor and outdoor living.

09/29/2026

Sharing some more photos from our shoot documenting this remodel for Tomlinson Designs and , where clean lines, natural materials, and understated details come together to create spaces that feel both intentional and effortless.

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09/22/2026

We recently had the pleasure of working with Tomlinson Designs and to create some photography that they could use online, in print media, and in their award submissions.

There was something really special about this project—a second-story addition and ADU built above an existing horse barn. The design was simple, restrained, Scandinavian-influenced, and intentionally minimal. Each space was thoughtfully designed with everything it needed and nothing more.

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09/15/2026

Day 4 (part 2) in Great Smoky Mountains National Park – Cades Cove, Laurel Creek & Closing Thoughts:

On our way out of the park, we drove past the Laurel Creek pullout where I had struck out on Day 2. The conditions were nearly identical: sun moving in and out of clouds, the stream catching the light, that same quality of quiet in the air. This time I knew the location and had a better sense of what I was after. Working with a technical camera, I was able to make small incremental adjustments using the geared shifts, dialing out distractions and refining the composition without moving the lens or changing my perspective. In between each adjustment I waited for the light to cooperate.

We stayed for about an hour and by the end of it I had found a composition I was happy with. It was a good reminder that some locations need more than one visit.

One thing I didn't fully anticipate was how challenging the processing would be on some of these images. The light throughout the Smokies in April is filtered through a canopy of yellow-green spring foliage, and that cast works its way into the shadows and midtones in ways that aren't always easy to correct. Getting the color and contrast to match what the scene actually felt like required more careful and deliberate work than usual.

Great Smoky Mountains National Park exceeded our expectations. The variety of scenes available within a relatively small area is impressive, and spring is a wonderful time to visit. The park is lush, the waterfalls are running strong, and the flowering dogwoods and fresh spring canopy create endless compositional opportunities. If you have not visited, I would highly recommend it. We are already planning a return trip in the fall to see what the park looks like when the leaves turn, and I have no doubt it will offer a completely different set of photographic opportunities.

Technical notes: Arca Swiss Pico View Camera + CFV 100C Digital Back + HR Digaron-W 70mm Lens

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09/08/2026

Day 4 (part 1) in Great Smoky Mountains National Park – Cades Cove, Laurel Creek:

Our last morning. We had a few hours before we needed to head to the airport, so we made them count.

Cades Cove was cold and it was raining. We drove the loop, took in the open meadow scenery, and finally spotted a bear, which had eluded us all trip. I didn't come away with any images I'm sharing here, but the visit was worthwhile. Kara made a nice image of the John Cable Mill in the moody morning light, working handheld as is often her approach.

Technical notes: Nikon Z7 + Nikkor Z 24-200mm

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09/01/2026

Day 3 (part 5) in Great Smoky Mountains National Park – Middle Prong Trail:

We ended the day with a return visit to Middle Prong Trail. We had some extra time on the drive back to the hotel and decided to use it. The light by then was soft and even, and I was able to put together a composition along the Lynn Camp Prong that I'm genuinely happy with.

About this photo, "Middle Prong Trail – Lynn Camp Prong":
A wide view of the stream tumbling over moss-covered boulders, the backlit canopy filling the frame above.

Technical notes: Arca Swiss Pico View Camera + Hasselblad CFV 100C Digital Back + Rodenstock HR Digaron-W 40mm Lens, 3-frame vertical stitch

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08/25/2026

Day 3 (part 4) in Great Smoky Mountains National Park – A Note on Kara's Photography

At the Greenbrier waterfall, the difference in our approaches was on full display. While I was dialing in the wider composition of the full falls, Kara had worked through numerous images with varying compositions, using her tripod to capture the blurred motion of the water. One image in particular really jumped out at me — beautiful light, thoughtfully composed, and technically precise. The exposure time is exactly right for the water flow and light skimming across the moss, and the fallen log framing the falls above ties the whole frame together.

Kara shoots with a Nikon Z7 and a 24-200mm lens, a professional-level full frame kit chosen primarily for its versatility and portability. A medium format technical camera is not for everyone. The system is slower, heavier, and demands more fiddling with settings in the field. At smaller print sizes, 12x18 and below, the two systems produce results that are genuinely difficult to distinguish. The difference between the two systems is most apparent in larger prints, where medium format holds fine detail in ways that full frame cannot fully match at that scale.

Technical notes: Nikon Z7 + Nikkor Z 24-200mm

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08/18/2026

Day 3 (part 3) in Great Smoky Mountains National Park – Greenbrier:

We took a break from photography to stop in Gatlinburg for a mid-afternoon meal and a walk around. If we had any remaining doubt about the decision to stay in Townsend, Gatlinburg erased it. We were happy to leave.

By the time we reached the Greenbrier area later that afternoon, we had been up for over twelve hours. The 3:30am wake-up, the full morning at the overlooks, and the Gatlinburg stop had taken their toll. This is where the trip could have gone sideways.

Before leaving home, I had found an image by another photographer of a small, unnamed triple waterfall somewhere in the Greenbrier area. He described the location in vague terms, the kind of description that tells you roughly where to look without giving anything away directly. We spent part of our drive into Greenbrier watching for the landmarks he had mentioned. We drove past the spot on the way in without recognizing it. On the way out, something clicked. We had passed a small pullout about a mile back that matched the description. We turned around. It was the right place.

Standing in front of the falls, I'll be honest: I was tired, and at first glance the waterfall seemed smaller and less impressive than I had imagined. To make it worse I took a digger on the slippery rocks and nearly didn't even get the camera out. Kara had no such hesitation. She was already making images. Her enthusiasm was the push I needed. I set up the Arca Swiss Pico and started working the scene, and what followed produced one of my favorite images from the entire trip.

About this photo, "Unnamed Triple Waterfall":
A three-frame vertical stitch captures the full width of the falls, water splitting across moss-covered ledges, surrounded by rhododendron and lush spring growth.

Technical notes: Arca Swiss Pico View Camera + Hasselblad CFV 100C Digital Back + Rodenstock HR Digaron-W 70mm Lens, 3-frame vertical stitch

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