Born and raised by a bluegrass musician and a graphic designer in the foothills of the Berkshire Mountains, in Lakeville, CT, Robb was exposed to a wide variety of arts from a young age. In high school, Robb studied black & white film photography, amassing hundreds of hours in the darkroom and developing a fondness for the smell of film chemicals while listening to the same two mix tapes on perpetual repeat. 

After the harsh realization that a professional golf career was unlikely, Robb embarked on a diverse career path, first as a securities law paralegal, then a corporate spy, and, later, Director of Brand Strategy for a luxury golf retailer.  Most recently, Robb served as Chief of Staff for a successful entrepreneur, where he primarily oversaw development of a large New York City restaurant concept. Robb is currently re-discovering his personal photographic work while developing a one-of-kind destination creative community and hospitality venture in the Northwest Corner of Connecticut, near his hometown.

An innately curious (some might say obsessive) lover of functional aesthetics, obscure information of questionable utility, and a good project, Robb is a designer and tinkerer of the highest order. He is also an avid gardener and plant enthusiast. When not scouring antique stores and flea markets for vintage treasures, Robb can be found honing his leather-working skills, designing furniture, or spending weekends restoring vintage three-speed English bicycles.

Robb holds a Bachelor of Arts in English Literature from the University of Michigan, an M.B.A from Duke University, with concentrations in Strategy and Marketing, and a Ph.D. in Over-Edited Instagram Photos.

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Oh, yes, and a word on the photographs. Though having previously worked in portrait and band photography, Robb increasingly specializes in fine art landscape photography, traveling the country to photograph the “lure of little voices” in the wide-open spaces. A departure from third person seems appropriate here, to tell you that I am primarily interested in exploring the relative concept of scale within these larger landscapes, and, specifically, how the use of abstract negative space impacts our perception of scale—that ever-expanding unknown cosmic equation, a kind of limitless circular reference to itself, the circumference of the ring bound only by our imaginations.

As a sub-plot to the scale movie, I am also interested in seeking out and exploring light-driven tonal and texture variations, both personally in the moment, and as a means to influence the experience for viewers of the captured moment. For the technically curious, my quiver includes a Nikon digital system, Nikon and Pentax 35mm cameras, and two medium format film systems: a Hasselblad 500 C/M and a Pentax 6x7, all of which are moderately fussy, like their owner.