About

I came at this from film.

Light, framing, movement, editing and sound, applied to buildings instead of scenes.

Where I'm coming from

I'm not an architect. I won't pretend to read your building better than you do. You already know what it's for.

I came at this from film. Light, framing, movement, editing, sound. I hold a Bachelor of Film and Television and have spent years on million-dollar sets, where the entire day is built around the light.

What I keep noticing in architectural video is the timing. Interiors shot at whatever hour the crew could get access: a room designed around morning light, filmed at two in the afternoon, windows blown out, the light doing none of what it was meant to do.

The building is doing something specific with the sun. Footage scheduled around access instead of light misses it.

How I work

One building at a time.

I don't stack shoots

Plenty of photographers fit three jobs into a day. I don't. While I'm on your project I'm not working on any site other than yours, which is what makes it possible to shoot at the right time rather than the available one.

However many days it takes

Some buildings give you everything in a morning. Others need a second day because the courtyard only works at eight and the west face only works at six. If yours needs the extra days, we take them.

If the light doesn't come, we go back

Weather doesn't keep to a schedule. If a day doesn't give us the building, we return and shoot it again. I'd rather spend another morning than hand you something I wouldn't put in my own portfolio.