Visual Style

Visual
Style

I know what moves me, what kind of images make me stop and feel something. Visually, my personal style is defined by contrast and texture—deep shadows, silhouetted figures, layered compositions that obscure and reveal. I love fluid, sweeping camera movements that feel like a dance, broken up by moments of absolute stillness. I lean into extreme close-ups that pull you into the character’s mind, and wide shots, with abstract head room that make them feel small against the world around them. I'm looking for that bright spark against a cool night, that moments that draw us into them in their intensity.

I’m drawn to the spaces where light meets shadow, where a character stands at the edge of something unknown—isolation, grief, passion, courage, freedom, ecstasy. I seek out the tension in stillness, the poetry in movement. 

Composition is something I’m constantly pushing myself to refine.I like composition that brings a certain sense of peace in chaos, where symmetry meets unpredictability, where every shot feels intentional but never rigid.

Color is more than an aesthetic choice—it’s an emotional language. I gravitate toward deep, earthy warmth and moody teals, but I’m always chasing a more personal palette. Red, when it appears, is never accidental—it pulses in the frame, drawing the eye, demanding attention. Skin tones against cool blues and burnt oranges create a visual tension that I find electric.



I’m inspired by the way Roger Deakins builds worlds that feel inevitable, how Greig Fraser sculpts darkness into something tangible, how Caravaggio used shadow to carve light into his subjects. Gregory Crewdson’s photography, with its eerie stillness and cinematic melancholy, resonates with me deeply. I pull from dance, from the rhythm of music, from the way architecture shapes how we move through space.

I want to create work that feels like a memory, like something you’ve lived through but can’t quite place. Whether I’m shooting stylized fashion films, high-energy sports pieces, or deeply human narratives, my approach is always fluid — but with an underlying ethos that I want the visuals to stay with you, to haunt you in the best way, to make you feel something you weren’t expecting.

I don’t think I’ve shot the film that defines me yet. But I can feel it getting closer, frame by frame.

®2024

®2024

®2024