TIME
For FUGUE, time becomes both subject and medium, a visual meditation on the one thing every brand asks its audience to give: their attention.
We live inside an almost incomprehensible flood of imagery. One widely cited estimate puts it at “3.2 billion images and 720,000 hours of video” shared online every day. In that world, simply making something beautiful is no longer enough. No one sits down intending to watch an advertisement; they choose to watch something that intrigues them, moves them, surprises them or rewards their time. FUGUE was created around that belief. A watch becomes the starting point for a larger visual journey into time itself, something measured constantly yet never completely understood. Decades of experience as a director, cinematographer and editor shape the work beyond the individual frame, using image, movement, juxtaposition, rhythm, music and sound as a single storytelling language designed to create a visceral emotional response. That editorial instinct is as important as the imagery itself. Every cut must earn the next second of attention. Every sound must deepen the experience. Every image must belong to an idea. AI expands what can be created, but craft determines whether anyone cares. The opportunity for brands is not simply to generate more content in an already overcrowded world. It is to create work people willingly spend their time with, remember after it is over, and associate with the brand that made them feel something.
FASHION & BEAUTY
IMAGE & GIF GALLERY
EXPERIENCE
From 2003 through 2024, while focused primarily on my career as a cinematographer, I was repeatedly entrusted to photograph women for some of the world’s leading beauty, skincare, cosmetic, fashion, and lifestyle brands. Beauty cinematography is an exacting craft. Every choice matters, from the quality and direction of light to skin tone, texture, lens selection, camera angle, and the subtle relationship between the cinematographer and the person in front of the camera.
I had the distinction of photographing Cindy Crawford on multiple occasions, Jennifer Lopez twice, Kate Walsh, and many other internationally recognized actors, models, and celebrity talent, some commanding fees of $500,000 to more than $1 million for a single campaign. With that level of talent came an extraordinary degree of trust and responsibility. I was selected by directors, agencies, production companies, clients, and celebrity teams to create imagery in which these women not only looked exceptional, but felt comfortable, confident, and beautiful in front of the lens.
That experience taught me that photographing beauty is about far more than flattering light. It requires taste, restraint, sensitivity, an understanding of the human face, and knowing how to create an environment in which someone can genuinely feel beautiful. Those two decades of experience continue to influence the way I approach beauty imagery today, whether working with traditional cinematography, AI, or a combination of both.