This documentary dives into Baltimore's Ballroom culture as several houses prepare for an elaborate ball held at the exclusive Peabody Library. A collaborative project with Johns Hopkins University, I was brought in as editor and in-the-field unit director, where I ended up shooting 99 percent of the behind the scenes footage before and after the ball. 
The six months spent with Keith, Marquise and Londyn demonstrates power of  dedicated storytelling to overcome obstacles such as distrust, motives and misunderstandings. 

A short documentary about places and traces -- abstracted phone booths become increasingly legible as the catalog of information about a father and son grows. This piece asks us to consider the nature of the artifacts we leave behind, particularly audio voicemails, a digital artifact, recorded and performed, with expectation of being quickly deleted.  (Camera/Editor/Director)
A photo series by Marissa O'Guinn

This photo series is comprised of street photography taken in the fall of 2006 in New York City's East Village neighborhood.  My objective was to capture a slice of life during a Saturday walk through parks, intersections, metro stations, and strolling along sidewalks.  The different settings and individuals in each photograph speak to the real vibrance of the area and the energy that I felt photographing the city during that point in time.

Shot on 35mm color film
  A photographer with a sideshow interest in fetish gigs isn't that unusual, but having  his story  told as a visual personal essay by his long time girlfriend offers some deep looks into a hard to articulate passion. When Sam Holden died at age 44,  Donna Sherman, his long time girl friend was left as a participant and champion of his art.  In Heel on Red, Sherman explores her conflict, including how Holden’s pursuit strained their relationship made more complicated due to  her conviction that he traversed the clichés of fetish photography into the sanctity of art.
Street Videography draws inspiration from the great Street Photographers such as  Will Evans,  Gordon Parks and Baltimore’s own Martha Cooper. But with video I press into documentary narrative but in a way I aiming for the   freeze moment impact, a kind of core boring of that time, but also to press upon that moment as well.