Long-form bodies of work, made over weeks not minutes. Each series is shot with one camera and an absurd amount of patience. Below, the three I’m most willing to talk about.
Six nights at 14,000ft. Long-exposure stacks above one of India’s longest glaciers, made between 11pm and 3am while everyone else was asleep. A series about distance, silence, and the absurd luck of being up there with a working camera.
Made in late August when the monsoon clears and the high passes briefly open. The glacier moves. The Milky Way doesn’t. The frames are the gap between them.
Fourteen days walking the high pastures and stone-stepped trails above Pahalgam. The parts of Kashmir that don’t end up on postcards. Made on foot, with a single backpack, sleeping in shepherds’ huts and one beautifully terrible homestay.
The series is about the people who’ve walked these paths for centuries, and the photographer who walked them for two weeks pretending he knew anything about anything.
A drone-led series across Kerala’s monsoon-fed paddy fields, backwater channels and coastal palmscape. Shot over three years, often before sunrise, usually alone. Home, finally seen properly.
When the iconic single-boat-in-red-rice-fields frame was picked up in 2019, this is the series it kicked off. Many of the frames have appeared in campaigns for Kerala Tourism, Indigo Airlines, and DJI’s flagship launch reels.
Each series has 6–12 limited-edition prints available. Hand-numbered, signed, on Hahnemühle 308gsm.