My 35mm analog photography practice runs in parallel with my filmmaking, forming a vital part of my visual inquiry. This body of work emphasizes the tactile and temporal nature of image-making — rooted in slowness, patience, and observation. I use 35mm film not only as a recording medium but as a conceptual tool to explore light, texture, memory, and the unseen atmospheres of place.

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The photographs often function as visual research — quietly observing environmental and architectural forms, gestures of erosion, remnants of habitation, or moments of tension between the natural and built world. These still images become referential anchors in my moving-image projects, influencing composition, pacing, and mood. Working with analogue film allows me to remain attentive to detail and contingency, embracing grain, imperfection, and delay as part of the process.

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Whether documenting ephemeral light patterns in urban spaces or capturing landscapes under ecological stress, the 35mm format allows me to explore how stillness can evoke presence, absence, and emotional resonance.

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This ongoing photographic practice informs the tone and structure of my film work, particularly in projects that resist narrative closure and lean into visual poetics. Together, they build a language where the still and the moving image speak to one another — one composing in silence, the other in time.