The Work
I work across portraiture, product, events and documentary, and increasingly in motion. A still and a film that come from the same eye sit in the same world. Sourced from two suppliers, they rarely do.
Working solo is a deliberate choice, and it is the reason a vision arrives intact. A brief loses something at every handover: relayed through an account manager to a producer to a shooter, it comes back adjacent to what you asked for. Here it goes from your sentence straight to the camera, and the person who heard it is the person who frames it.
It also means things move. A shoot can be scoped on Monday, shot on Wednesday and delivered on Friday, because there is no production layer to schedule around and no approval queue between the idea and the camera. For most of the brands and founders I work with, that pace matters as much as the images.
The Fit
A photograph can be excellent and still be wrong for you. The job is not to make it beautiful. It is to make it unmistakably yours.
So the first thing I ask for is not a shot list. It is what you already have: the site, the packaging, the last campaign, the account you keep coming back to. From that I take the register. How much light, how much colour, how close, how still. Then I shoot to it.
The test is simple. The images should slot into what you have already built and raise it, rather than sit beside it looking like they came from somewhere else. A brand that changes its face every campaign is not building anything, and no single frame, however good, is worth that.
The Eye
Light first, always. Then patience, because most of the frames I care about came from waiting rather than from arranging.
The personal series on this site are where that gets tested. Silhouettes and Detachment are both about a crowd, approached from opposite directions; Everyday Life is the one that never closes. That work has no client and no deadline, and it is exactly why the commissioned work holds up.
