ABOUT

I MAKE IMAGES TWO WAYS -

WITH A CAMERA, AND WITH A

MACHINE THAT DREAMS

I started with a camera. Years of documentary work taught me the thing no software teaches: how to wait. How to read a room. How to know that the real moment is the one just before, or just after, the one everybody is looking at.

Then generative tools arrived, and suddenly I could build the worlds a camera can't reach — the ones that exist only in a script, or a memory, or a future that hasn't happened yet. Most people treat these tools as a slot machine: pull the lever, hope something beautiful falls out. I treat them as a camera. I decide the shot first, then find the way to get it.

That's the whole method. Story first, technology second. If the idea doesn't work as a sentence, no amount of rendering will save it.

THE CAMERA

Documentary and fine art photography. Long-form projects about people and the places that shape them. This is where I learned composition, patience, and the value of an imperfect frame that happens to be true.

THE MACHINE

AI-directed short films, commercial video, and series. Sci-fi that asks a question rather than just showing a spectacle. Brand work that looks like cinema, not like a template.

The two are not separate careers. My films are framed like documentaries. My photographs are graded like film stills.