I build
worlds, then
photograph them.

Conceptual Portrait Photography · Visual Art Direction

Every shoot begins as a concept, not a click. A palette, a character, a piece of styling, a quality of light — chosen before anyone stands in front of the lens. The photograph is just the moment all of it finally agrees.

Gold Mask

Coin veils, henna and abaya embroidery against desert stone

Excalibur

Chiaroscuro, chainmail, and a Renaissance world — a queen and her knight

III

Marigold

African print, gold and citrus — garden and pool

Balcony

Golden hour, white lace, strawberries above the city

Totem

Animal archetypes in the forest

Alice

A Wonderland in the city — cards, a key, a blue-cloud dress

VII

Clarens

Navy satin, red lacquer, and a protea against the cliffs — Jan 2026

VIII

Frida

Roses, red, and a painter's stare

Retro

A 1960s Italian daydream — one colour story, start to finish

Disco

Dusk on the water, cream drapery, a mirror ball

Horses

Black-and-white pastoral — a Yellowstone summer with Yusuf

A point of view on
what makes an
image work.

I work the way an art director does — starting from the idea and controlling every variable that reaches the frame: colour as language, styling that reads as character, locations that carry mood, and light that decides how you feel before you can say why.

Across these series you'll find a 1960s Italian daydream, a Frida in full bloom, a gold-masked figure against desert stone, a medieval world lit like a painting, and a black-and-white pastoral held together purely by tone — some self-directed, some models I styled and directed. Different worlds, one consistent eye.

What I care about most is judgement: knowing why one frame lands and the next one doesn't, and being able to say it out loud. That's the part I most want to bring to teams building the next generation of creative tools.

I buildworlds, thenphotograph them.