A touch of Blade Runner, a hint of noir — captured in the backlots of Shanghai Film Studios with the daring Kim Lemanton, whose sophisticated allure defines the essence of this piece. This project stands as one of the hallmarks of my work in fashion, evoking a quiet unease that remains compelling.

China, mid-2000s. He’s smoking, wired in, sunglasses on. Confident, cocky—this could almost be New York.  There’s something in the air: new money, shifting roles, people on the make. The class divide isn’t talked about here, but you can definitely feel it.

A draft version of my book cover, designed by my dear friend and creative director, Geoff Waring. I loved this concept, even though I ultimately chose a different cover.

The images featured are among my personal favorites, and for me, the most compelling. On the left, Anneliese Seubert, "Flying", and on the right, Jennae Quisenberry, "Trip to The Moon". Both captured on film, these powerful images are separated by thirty years yet share an undeniable connection.

In May 2025, I photographed Aoife from Heroes Models in a quiet Brooklyn studio, using a vintage canvas backdrop I crafted back in 1990—a testament to handmade texture and enduring creative spirit. Shot on Kodak Portra 400, the images harness the film’s grainy warmth and painterly skin tones, capturing a sense of delicate stillness wrapped in feminine mystery.There’s a measured quiet in the frames, a gentle sensuality that echoes the poised restraint of Penn’s compositions and the sculptural presence of Avedon’s portraiture.  I aimed for minimalist surroundings that allow the subject and the gowns —flowing, elegant forms—to take center stage.

In the quiet expanse of Sydney’s Neilson Park bushland, the twins Meghan and Alise emerge as figures both haunting and ethereal. A delicate balance of innocence and mystery, they embody the paradox of absolute purity intertwined with a darker, more dangerous allure. Are they the purest of angels in Arcadia, or do they possess a more sinister nature, luring the unsuspecting into a shadowed world? Their beauty is both captivating and unsettling, an undeniable force that pulls the viewer into a realm where light and shadow, purity and temptation, collide.

Slipping into a cenote feels like stepping out of time. The water is still, blue-green, impossibly clear — as if the earth is holding its breath. No sound, just light and depth. The Maya believed these were portals to the underworld. 

New Zealand’s South Island is a place of raw, cinematic beauty — where mountains loom, forests breathe history, and mirror-like lakes hold the sky. Tonight, I’m deep in one of those forests photographing Megan Gale. We hiked in at dusk, hauling HMI lights, generators, and a fog machine through terrain Peter Jackson once used to conjure Middle-earth. The place doesn’t just look magical. It is magic.

"In the late afternoon sun of Delos, we waited for the tourists to leave, allowing us to capture the magic of the ancient ruins. With my Nikon F5 and the D850 in hand, I shot a few frames as my daughter Loulou leaned into a five-thousand-year-old column, her piercing gaze embodying the history around us. Just being there together was everything."