1. What makes a great visual story? Is it composition, movement, lighting—or something intangible?

A great visual story is more than just composition, movement, or lighting—it’s about emotion. Technical elements serve a purpose, but what truly makes a story resonate is the feeling it evokes. A single frame can be visually perfect, but if it doesn’t make you feel something, it’s empty. For me, the magic happens when light, composition, and movement come together to create a connection—something that lingers in the viewer’s mind long after they’ve watched it.

2. What’s the biggest mistake you see peoplemaking when trying to create cinematic content?

Trying too hard to make something “look cinematic” without understanding why. Many focus on aesthetics—shallow depth of field, dramatic color grading, slow motion, excessive transitions and effects—without considering how these choices serve the story. Cinematic isn’t just about the look; it’s about storytelling, pacing, and emotional depth. If a shot lacks meaning, no amount of visual polish will make it cinematic.

3. Can you recall a scene you shot that felt like pure magic? What made it work?

Yes, one that stands out is a scene I shot in Iceland for Visendakona. The light was surreal, the wind carried this incredible energy, and everything felt aligned—the movement of the subject, the landscape, the atmosphere. But what really made it magical was the emotional weight behind it. It wasn’t just a beautiful shot; it felt like something bigger, like nature itself was part of the story. That’s the kind of magic I always chase.

4. Your career in 60 seconds—how did you first get into cinematography/filmmaking, and what was your breakthrough moment?

I started in 2014 with a GoPro, just documenting my travels. Photography was my first love, but I felt like something was missing—I wanted to capture motion, emotion, atmosphere. In 2017, I went full-time into cinematography, working on projects that allowed me to refine my style. My breakthrough moment was when I stopped chasing trends and fully embraced my vision. Once I started shooting in a way that felt true to me, everything changed.

5. Filmmaking can be expensive. If someone’s just starting out, what’s one piece of equipment that’s actually worth investing in?

A great lens. Cameras come and go, but a good lens will serve you for years. A solid prime lens with a fast aperture can completely transform how you see light and depth. It’s not just about sharpness—it’s about texture, how it renders an image, how it separates the subject, and how it makes a scene feel.

6. What’s an underrated technique that more filmmakers should be using?

Letting the camera breathe. Many filmmakers overcomplicate shots—too much movement, too many cuts. Sometimes, the most powerful thing you can do is hold a shot and let the emotion settle. Negative space, silence, and restraint create tension and weight in a scene. Not every shot needs to be dynamic—sometimes, stillness is more powerful.

7. Developing a personal visual style is tough—should new filmmakers experiment widely or find a niche early on?

Experiment first. You need to try different things to understand what speaks to you. Style isn’t something you decide—it’s something that emerges naturally from your influences, instincts, and experiences. The more you explore, the more you’ll realize what resonates with you. Once you start noticing patterns in what you’re drawn to, refine and shape your niche.

8. What’s the best creative advice you’ve ever received that still sticks with you today?

“Don’t chase perfection—chase feeling.” Technical mastery is great, but if you lose the emotional core, the image is meaningless. The best shots aren’t always the sharpest or most polished—they’re the ones that make you feel something. That’s what I always keep in mind.

9. If you were starting over today, knowing what you know now, what’s the first thing you’d do?

I’d focus on storytelling from day one. When I started, I was obsessed with the technical side—gear, lenses, camera settings. But over time, I realized that none of that matters if the story isn’t compelling. If I were starting over, I’d spend more time studying human emotion, body language, and the psychology of visual storytelling. Because at the end of the day, people don’t remember how a film was shot—they remember how it made them feel.

Thank you again for the opportunity and for taking the time to dive into my creative process. It means a lot to share my thoughts on something I’m truly passionate about.