ABOUT

Photography, for me, began at the Temple of Poseidon.

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I was fourteen — a week away from turning fifteen — on a tour group at Cape Sounion in Greece. Everyone else walked toward the ruins together. I don't know why, but I went the other way, found a spot nobody else had claimed, and framed the setting sun between the columns. The rest of the group became silhouettes among them. I raised a camera almost by instinct, and whatever came out of that moment, I've been chasing it ever since.

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My photography has evolved to a point where I am driven by a single instinct — to be present. The style is intuitive rather than planned: high contrast, available light, the frame built around the person rather than the other way around. I work across street photography, black and white landscapes, and urban architecture, but the instinct is the same in all of it — to find the moment where light, stillness, and human life briefly hold together.

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My walks with a camera have become a kind of therapy. An opportunity to sometimes forget the everyday worries, and other times to overthink them. Either way, the camera gives me a reason to slow down, to look carefully at the world moving around me, and to find something worth holding onto in the middle of it.

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The work draws from several traditions at once. The geometry and patience of Adams. The decisive instinct of Cartier-Bresson. The colour, intimacy and quiet poetry of Leiter. The humanity and directness of McCurry. The raw, unguarded energy of Gardin. No single influence dominates — they sit together in the viewfinder, and what comes out belongs to all of them and none of them.

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My aim is simple: to create images that feel still, yet alive. Photographs that don't shout, but linger.