I’m a cinematographer focused on narrative and documentary work, shaped by a lifelong love of film, photography, and emotionally driven visual storytelling.
I’m drawn to stories with weight…
Stories about people, contradiction, silence, tension, beauty, darkness, and the things we often don’t know how to say directly.
Films and documentaries that have something human at stake.
Stories with emotional weight, social awareness, psychological tension, moral conflict, identity, displacement, or contradiction.
Work that is not afraid of discomfort, silence, darkness, or complexity.
Stories that look honestly at people and the systems, cultures, memories, wounds, or pressures shaping them.
Films that ask difficult questions without rushing to give easy answers.
Demo Reel
My inspiration comes from films and images that stay with me long after they’re over. I’m pulled toward work that feels moody, intimate, painterly, and psychologically charged. Cinematography is not just about capturing what is in front of the camera. It is about finding the emotional language of the story. The frame, the light, the movement, the color, and the rhythm all have to serve what the scene is really carrying underneath.
Films like Oldboy, The Master, Nightcrawler, Blue Velvet and A Clockwork Orange shaped the way I think about images, while cinematographers like Vittorio Storaro, Robert Elswit, and Chung Chung-hoon continue to influence how I study light, color, contrast, and visual intention.
The collaborations I’m most excited by are with directors who care deeply about tone, subtext, and visual language. Directors who don’t see cinematography as decoration, but as part of the storytelling itself. I want to understand what the film is really trying to say, then help build a visual approach that supports that meaning from the inside out.