Building a massive crash scene in the middle of the night
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This kind of work sits with a client where credibility is everything. The message only lands if the image holds up, and with road safety, there’s no room for artifice. It has to feel true at a glance.
The idea was simple, show consequence in a way that feels immediate and undeniable. Not stylised, not exaggerated, just a moment that could have happened, captured as it unfolds. That meant doing it properly.
We shut down the road, worked through the night and built the entire scene in camera. Emergency services, vehicles, lighting, atmosphere, talent, all happening live. No shortcuts, no pretending.
It’s a big production, but that’s where it starts to feel right. You get the scale, the tension, the small imperfections that make it believable. The unpredictability is part of it, and that’s what gives the image weight.
You can push a lot in post, but not everything. For something like this, the foundation has to be real. If it doesn’t feel real, it doesn’t work.
This is where photography leads. Building the image from the ground up, shaping it in camera, letting the moment carry the message. That’s the part that still matters most.
This was a massive production with a large crew, everyone pulling in the same direction to create two standalone outdoor images, packed with detail and built to hold.
Detail was critical on this one. We were shooting across multiple outdoor formats, so everything had to hold up, no shortcuts, every layer needed to carry.
For some clients and some campaigns, doing it for real isn’t a choice, it’s the point.
For some clients and some campaigns, doing it for real isn’t a choice, it’s the point.
Where AI meets the real world
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This project started with a simple question, how do we create something that’s not feasible to shoot for real within budget?
The answer was a hybrid approach.
The landscapes were photographed first. I used my own landscape plates to build AI layouts, exploring perspective and scale, while the lighting direction was always driven by the photography. Once that held, the real landscape was brought back in during post. It simply looked better, more grounded, more believable, and it holds up in high resolution.
The car and talent were always photographed for real. Properly lit, properly placed, with full control and proper usage rights. That physical anchor is important, it gives the image weight and something real to hold onto.
The advantage is clarity. You can resolve the image before you shoot it. Lock in decisions early, reduce guesswork, and walk onto set knowing exactly what needs to be done. It takes pressure off the shoot and puts the thinking where it belongs, upfront.
There’s also efficiency in it. Not because it’s free, it isn’t, but because it cuts out unnecessary complexity and keeps the production focused on what actually matters.
AI is a powerful tool, but it’s not the final image. It sits within the process. Pushed where it helps, held back where reality matters. For me, it’s another post-production tool, used with intent and control.
In the end, it’s still about building something that feels real. Advertising for grown-ups.
A hybrid approach, in service of something that still feels real.
A hybrid approach, in service of something that still feels real.
A study in combining photography, landscape, and AI
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The idea was simple. Create these R.M. Williams pop-up stores in the Australian landscape in a way that feels unexpected, but still entirely believable.
I’m not a fan of fully AI-generated imagery. It often lacks weight, presence, believability. So the environments are built from my own landscape references, shaping something familiar and then reworking it.
The structures are developed through AI, step by step, with a very controlled hand guiding form, scale, and detail.
I don’t really believe in fully AI-generated imagery. That sense of weight and presence just isn’t there. So the product is always photographed for real. Proper light, real materials, something tangible that anchors the image.
AI sits within that process as a tool. A way to explore and construct, not to replace what needs to feel true.
There are real efficiencies in using AI, no question. But the idea that it’s free or takes five minutes is simply wrong. A lot of work goes into it. For me, it sits alongside retouching and CGI, just another post-production tool, used with intent.
Clear, considered, and built to hold.
A playful integrated campaign for Narellan Pools film, and stills
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The idea was simple. A match cut between people who want a pool and people already enjoying one. Same moment, same behaviour, just a small shift in life, but actually quite a big one.
The campaign ran across a 30-second film, cutdowns, and a stills campaign. The tone stayed grounded. Light humour, very human, nothing overplayed. Not trying to be cool, just reflecting real people and real moments.
We built it as one system, shooting motion and stills together, keeping everything consistent from the start. I directed, operated parts of the camera, and captured the stills, staying close to the work the whole way through.
The production was substantial. Multiple locations, night shoots, drone work, all feeding into the same idea and keeping it cohesive.
At its core, it’s about people, not the product. The product is really the enjoyment you get out of having a pool.
I’m still dreaming of getting my own one, so clearly it works.
By running two assistant crews, we can move fast and stay efficient. More importantly, it keeps everything aligned, film and stills are developed together, which makes the tone more cohesive and consistent.
By running two assistant crews, we can move fast and stay efficient. More importantly, it keeps everything aligned, film and stills are developed together, which makes the tone more cohesive and consistent.
There was a push towards heavy VFX, but we chose to build it for real
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This 30-second film for Palmer’s came out of a really strong, simple insight. Most women don’t just have one product they trust. They have cabinets filled with half-used brands, different promises, different claims.
Palmer’s offers the opposite. Something straightforward that works. One simple solution.
The client and agency initially looked at a CGI route, but I felt it would land much stronger if we kept it grounded in reality. So we built a small tunnel in the studio. A real space, real atmosphere, real camera decisions.
Everything was kept simple, but very considered. That gave the whole piece a sense of weight and a tactile quality that’s hard to fake.
It was shot in a single day. Tight, focused. The kind of setup where clarity and decisions matter.
We also captured product stills alongside the film, keeping everything consistent.
Real space, real atmosphere, real camera decisions. Everything kept simple, but thought through.”
Real space, real atmosphere, real camera decisions. Everything kept simple, but thought through.”
Chasing the sun
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Das Narrative, a production company from Austria, came to Australia in search of light.
We shot key scenes which made it into the 30-second spot, as well as a standalone 15-second cut. An Austrian director and photographer, living in Australia, shooting back for Austria. What a small world.
The agency had this beautiful image in mind, a 10 metre diving tower in an outdoor public pool, the bravery of jumping.
The shoot took us to Canberra. Colder conditions, long hours, and a demanding setup. Working with young talent, in and underwater, it was a full day.
It’s something I remember from growing up in Austria. Turns out, while we do have them in Australia, most are no longer in use. Concrete cancer, safety restrictions, closures. They’re simply not accessible anymore.
So we had to go further out. Canberra ended up being the place where we found one still intact and usable.
I ran the film camera and captured the stills, working with a very lean crew.
A cohesive production where I direct and shoot the stills alongside the film. Running parallel setups means we can move fast and efficient, but nothing feels rushed. It keeps the whole thing tight, consistent, and on the same wavelength.
A cohesive production where I direct and shoot the stills alongside the film. Running parallel setups means we can move fast and efficient, but nothing feels rushed. It keeps the whole thing tight, consistent, and on the same wavelength.
An integrated piece built between real and AI
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An integrated piece built between real and AI.
The concept was developed in AI, shaped and directed in-house, then brought into the real world. Once it held, the watch came in and was photographed. Real light, real presence, treated with the precision it deserves.
The approach is simple. Something classic, something striking, without overcomplicating it.
AI was developed as part of the process, used where it adds value, then pulled back. Everything aligned into one language so it sits naturally with the photography.
One image. Clear, considered, with a sense of stillness and motion at the same time.
AI where it helps, photography where it matters.
AI where it helps, photography where it matters.
A stills campaign shot around Australia
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This was a fantastic project where one frame carries a really big story. There’s a real strength in something that doesn’t move, doesn’t flash, just sits there and holds your attention.
I’ve been fortunate to work with the Australian Navy and Army a few times over the years, but this one really stood out.
The job ran alongside a TVC that was more lifestyle driven. Within that, we carved out a stills campaign for outdoor that needed to be far more controlled and precise.
We moved across the country to make it happen. Perth, Townsville, Sydney Naval Base. Capturing elements piece by piece, ships, aircraft, helicopter-to-helicopter, different locations, different times, all brought together with a lot of precision.
The aim was to create images that feel composed but still have impact. Something that reads clearly and holds presence.
On every job, I want the work to perform, that’s a given. But there’s also a personal side to it. Call it job satisfaction. And this one had a lot of that.
Hovering in a helicopter, about 12 metres above the sea, watching a submarine disappear beneath you, that stays with you.
So yes, job satisfaction matters. You could say it doesn’t affect the outcome, but I don’t think that’s true. Pride in the work shows, and that only really happens when you’re there, actually shooting it for real.
For this project, we split it into two worlds. One side was highly constructed, high-end outdoor imagery. The other lived fully in the lifestyle space, real moments, more observational. Two approaches, but designed to sit together.
For this project, we split it into two worlds. One side was highly constructed, high-end outdoor imagery. The other lived fully in the lifestyle space, real moments, more observational. Two approaches, but designed to sit together.
Light Weight Without consequence
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These images started with a simple impulse. Why does everything always have to behave?
We’re used to things making sense. We want them to make sense. Gravity, cause and effect, politics, people in power.
There’s no drama here, no spectacle. Just a quiet shift that makes you look twice, and stay with it a little longer.
The boulders carry weight, and yet there’s a strange lightness to it. A calmness. It would be easy to make them move, turn it into motion. But they don’t need to. The idea holds in a single frame.
Maybe that’s the point. To just stand in front of something and look. Not on a small screen, but properly. At scale.
I find it’s often less about movement and more about presence.
I find it’s often less about movement and more about presence.
Photographed in Hong Kong, adapted for different markets
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This was a campaign we shot for Standard Chartered in Hong Kong, but also across multiple regions. Every setup had to work in different markets, so we shot each image multiple times with different talent. Same frame, same idea, just carefully adjusted so it felt right for each region.
Standard Chartered is an international bank. They focus on private banking, wealth management, and corporate banking, mainly across Asia, Africa, and the Middle East. A big part of what they do is helping individuals and businesses manage, grow, and move money globally. It’s quite a relationship-driven business, less about transactions, more about long-term financial strategy.
What I like about this one is the simplicity. It looks clean and straightforward, but there’s quite a lot behind it. We built a small set, used CGI for the background, and shot everything with a very controlled lighting setup. Everything designed to feel precise, but still natural.
That balance is always the tricky part. We wanted it refined, but not overworked. Polished and elegant but still real. It’s very easy to push it too far. I think we managed to hold it in the right place here.
In the end, these are big images, but built quite carefully. Nothing shouting, just everything sitting where it should. Clean, considered, and holding its space.
One of the best moments was seeing it take over Forbes Asia.
The campaign wrapped the entire issue, a proper cover wrap, hard to ignore, exactly where it should be.
That felt like a real sign it had landed.
