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My intention with visual storytelling is to be three-dimensional. Through the consideration of lighting design, focal length, blocking and a collaborative dialogue with Production and Costume Design, I believe a layered, tactile presentation allows for the strongest ‘cinematic’ image, one that doesn’t solely rely on the latest camera to miraculously do all the work.

While I aim to be a chameleon with my aesthetic, I am most creative at the darker end of the light spectrum, pushing the toe of the curve as much as the scene and camera will allow, while using colour contrast to not only create subject separation, but to subconsciously reinforce the mood that the story requires.

I strongly believe in pre-visualisation and location scouting in order to overcome a project’s technical and narrative challenges. If collaborating with a Director or production body, I encourage Look Books or film references that best mirror the creative intention, so there is no miscommunication on what is a highly subjective practice. Filmmaking of any kind is a marathon, and it is well worth exhausting that window of pre-production before the final sprint of shoot day.

With my personal kit, I am equipped to shoot 4-6K resolution, spherical or anamorphic footage and deliver Netflix-approved codecs for editing or final delivery. Would you like to collaborate on a project? Let's chat.

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