About

There was a pivotal moment when I realized I couldn’t look back and had to dive in fully. Not long after, I found myself in California, buying a cinema camera the way someone might buy a musical instrument — to play and create. How the times have changed and how much can be done with little these days.
My start was hands-on and fueled by a focus on feeling, creativity, and visual expression. I didn’t know the structure or flow of the industry then; I made my ends meet working in various positions from assisting directors, working in lighting and camera departments and learning what to do and not to do from shoots big and small. I was lucky enough to have met and have mentorship from my heroes in film. To not lose a personal voice, during the quiet hours I came up with my own creative, chased sunrises and put together personal projects until they caught attention and became professional work with a personal heartbeat that gave me chances to advance. From intimately small shoots with just me and the talent to large-scale VFX productions in commercials and feature films around the world, I’ve always relied on staying attuned to the time, resources, and creative energy of each project. That stuff has been with me from the get go and I'm not going to let it down now. My approach is simple: I shoot from an open heart, get technically prepared beforehand so I can be bold and ready to let it go and experiment freely and capture the truths of the moment.

Humbly, I’ve had the privilege of directing and shooting a wide range of projects — from personal endeavors to collaborations with A-list celebrities (Paul Dano, Julianne Moore, Cindy Crawford, Barbara Pavlin, Elizabeth Olsen, Gigi Hadid, Lebron James, John Legend, Judy Chicago) and global brands (Dior, LaMer, Ford, Boeing, Lexus, Sony, ASICS, Hublot, WildAid, Ray-Ban, Gucci, Alexander McQueen, Paul Smith, Marc Jacobs, Diesel, Bobbi Brown, Uniqlo). I’ve shot all over the world in Japan, China, Hong Kong, Europe, Australia, South Africa, Cuba, Iceland, North and South America. The industry often likes to typecast talent. Please don't. I don’t view projects as confined by categories like “beauty,” “people,” or “cars” in "bright" or "moody" style. To me, with a genuine approach and connection to a project, the creative possibilities are limitless. I humbly believe I can shoot anything. And yes, there’s certainly a flavor to a chef. If I had to define mine – it’s somewhere in authentic beauty, character and connection, an edge of fashion with narrative, cinematic, organic and timeless feel. My style is finding an honest image. And if you let me break the system a little, I will bring you some unseen diamonds in the raw, carve out a visual voice. My life is a bit of an odd path and so is my work and creative process, though it is not chaotic. Whether shooting a cushioned fashion campaign or capturing a frigid winter sunrise with a lobsterman in coastal Maine or photographing farmers in remote China, I approach each project with the same intention: to create something authentic and beautiful, true to its world. My journey has been a blend of exploration, bold craftsmanship, and practical work to celebrate life and provide for my family.

I typically film and photograph the projects I direct, maintaining a connection with the talent and to the creative process. I like to face the music with a camera in my hand. I also collaborate with other directors as a cinematographer.

I’m bold and truthful in my creative input. On a project, I’ll always share my honest opinion on the best approach and equally respect collaboration and client’s vision. The best creative moments come from genuine collaboration — when the approach is bold, truthful, and pure. I know, this can be rare especially in the commercial world today, where salesmanship-heavy treatments win the job and often take precedence over authentic and connected storytelling. I’m drawn to timeless creativity, authentic settings, and genuine characters — engaging closely with the moment rather than being bogged down by technical interference, while I am very technical (an underwater doc about toddlers learning to swim I shot - a beautiful blend of human emotion and hidden technical challenges - got shortlisted for an Academy Award).
In the field, I value crews that are lighthearted, daring, flexible considerate of both the work and the world around them. I usually need minimal support, size up appropriately for the job, seeing big picture and preferring to keep things easygoing. I’m on the quiet side, but there is a thousand thoughts racing in the back of my mind.

Both in work and life, I strive to be a peaceful, sensitive, and acute observer and listener. While I apply appropriate pressure when needed on set, I believe the era of the “sledgehammer director” is behind us. Life is short and fragile, and I take things one day at a time. Film allows us to celebrate life and humanity visually, offering interpretations of our sensibilities and unique perspectives. I consider it a blessing to see places, meet people, and tell stories that most wouldn’t encounter otherwise—and I’m always grateful for that. Cameras are just a part of it, being there is the juice. We're here to connect and we're here for each other in pockets of place and time.
I hope our paths do cross, that the connection is genuine, that we don't waste it, and that we create something meaningful together. That the memory of our journey lasts a lifetime.
The hardest part is often just giving things a chance—tuning out the noise and staying true to the core.

We keep going. We are never there until Now.
"Pessimism of the Intellect, Optimism of the Will."