The Moving Image

My approach to cinematography is rooted in observation and visual intention. Coming from photography, I treat motion as an extension of still imagery—each frame composed with care, while remaining responsive to the moment. Across narrative, documentary, and hybrid work, I prioritize atmosphere, clarity, and emotional coherence over spectacle.

Visual Language

Light, texture, and composition form the core of my visual language. I favor naturalistic, motivated lighting and a restrained use of contrast to shape mood and guide attention. The images are designed to feel grounded and lived-in, allowing space and performance to carry meaning.

Movement and Rhythm

Camera movement is used deliberately, responding to gesture, pacing, and environment. I’m drawn to the balance between motion and stillness—where subtle shifts, pauses, and transitions can communicate as much as action itself. This sensitivity to rhythm comes directly from long-term observational and street photography practices.

Direction and Collaboration

I frequently work as both cinematographer and art director, shaping visual identity from concept through execution. This integrated approach ensures cohesion across color, production design, wardrobe, and framing. Collaboration remains central, with visuals always in service of story and tone.

Continuity of Practice

Cinematography is part of a larger visual practice that includes photography and exploratory work. My background in painting further informs how I think about color, composition, and spatial balance, reinforcing a tactile, image-driven approach across mediums. Across disciplines, I focus on how people inhabit space, how light shapes perception, and how images convey presence. The camera becomes a tool for attention—capturing not just what is seen, but how it feels to be there.