WORK
ANALOG
PHOTOGRAPHY
BLACK & WHITE EXPOSITIONS, 2021/2022
When I first started shooting on film in 2019 and 2020, I was exclusively bound to colour. It wasn't until early 2021 when I first shot a roll of black & white, and since then I've very much gained a liking for its compositional malleability in playing with shadows and lighting, which catalyses dramatic results.
Since my first roll of black & white celluloid (Kentmere Pan 100), I've started to expand my use of it, to lean more into experimenting and learning to better adapt compositionally, which has been an insightful and reflective process with using Ilford film stocks.
This collection is a way of seeing the world in a new light - without colour - which I've found to often possess more colour and dimension than photos with colour sometimes. I feel like my black & white exposures are a sense of a larger journey in finding my own formalities and compositional style in photography, as I learn more about my connection with the craft through the echo of my work's progress.
PANDEMIC BLUES,
2020-2022
The beginning and peak of the pandemic was a harsh time for nearly everyone. For me, being stuck inside and regulated from what was before known as everyday life, meant that I started to feel utterly lost.
Hours flashed into days, and the days grew into one another, turning into weeks, and as soon as I realised, months had passed by and we were all still stuck at home, or just beginning to return to some sense of normalcy in adapting to this new world.
In many ways, photography - particularly picking up my camera and taking up analog photography again after months away on a trapped indoors-imposed hiatus - was my personal way of coping with feeling lost and attempting to acclimatize to new directions.
The photos you see here are my journey in finding a safe place in our vastly changed world, whilst trying to make sense of it after months of internal isolation and lack of social formality. Among these pictures from dinners with friends, drives around town, and little eclipses of the small things all around, is a new light trying to find its way to normalcy in beginning anew post-lockdown.
DIGITAL
PHOTOGRAPHY
BUDAPEST & HUNGARY, 2016/2017
The first time I visited Budapest, Hungary in December 2016, I was captured by the city's atmosphere. The city itself was a cozy and antique-feeling setting, but under the cold fog of the winter months, the atmosphere of Budapest transformed itself entirely into a mystical environment, appealing to me, feeling as mysterious as it is almost magical.
It instantly felt like a solace to me in its trance of mist and blue. I wanted my photos to feel visceral, yet real and raw, to truthfully capture the essence of the city through the cold winter months, and to evoke what I felt towards the city during my few days there.
Budapest remains one of my favorite cities, and this collection of photos serves as a nostalgic immersion and time capsule into my short but surprisingly congenial time in Budapest and Hungary.
FACELESS FACES & SILHOUETTES,
2014-2016
I've always admired silhouettes and figures against backdrops, like the inspirational visuals I had seen in films, with many of Roger Deakins' works coming to mind in an instant, from Jesse James to Sicario.
The inception of this collection is inspired by an idea I've always had in wanting to make a film where the protagonist is never seen, occupying the film's frames throughout its runtime, but remaining faceless through it - a faceless feature film, as you would call it - akin to a specter walking through life, like a shadow in the far gutters of the light.
These photos - shot digitally - serve as a personal mood board for this very concept, displaying silhouettes starkly contrasted against backdrops, and faceless faces blending into crowds of human bustle, similar to an enigmatically unknown film protagonist who facelessly blends into city streets and bleeds into landscapes and the dark edges of the shadows as a silhoutte.