photography

I’d always been drawn to light and composition through my work in video, but photography unlocked something different. Unlike painting or sculpture, where you start with a blank canvas, photography is pure reaction. I move through the world looking for new ways to see—finding parallels in unrelated subjects, letting light and composition fuse foreground and background into something unexpected.

While video has its own challenges, photography demands a unique kind of clarity. You only get a single frame to communicate something specific. You have to guide the viewer’s eye with intention, using every detail at your disposal.

Shooting film sharpened that discipline even further. With only so many exposures, I’m forced to slow down, consider, and commit. That limitation brought real value back to every frame and restored a sense of purpose that I’d lost when digital made image-making almost too easy.

This practice—moving deliberately, reacting instinctively, and communicating clearly within a single frame—has quietly reshaped the way I approach cinematography.
My passion for film photography hasn’t just changed how I see; it’s made me a better, more intentional cinematographer.