Each image is the result of a meticulous analog process: the artist manually advanced the medium-format film from frame to frame—1, 2, 3, and onward—exposing individual frames multiple times to achieve a visual rhythm of light, shape, and motion. What began as a curiosity with double exposure evolved into a deep exploration of compound exposures, pushing the limits of what could be revealed through light and film alone.

Shot entirely on Kodak and Fuji 120 film stocks of varying speeds, these photographs are untouched by filters or digital manipulation. There is no Photoshop here—only light, timing, and intention. The process begins with a conceptual spark, a rough sketch on paper, and a quiet calculation of exposure compensation using simple math.

From each roll of 15 exposures, only two images—on average—meet the artist’s high standard for composition and clarity. The boards themselves were sourced from the California Surf Museum in Oceanside, California, where they continue to reside on public display.

A culmination of craft and concept, this body of work earned the artist the cover of The Surfer’s Journal, June 2020 issue.

Each image is the result of a meticulous analog process: the artist manually advanced the medium-format film from frame to frame—1, 2, 3, and onward—exposing individual frames multiple times to achieve a visual rhythm of light, shape, and motion. What began as a curiosity with double exposure evolved into a deep exploration of compound exposures, pushing the limits of what could be revealed through light and film alone.

Shot entirely on Kodak and Fuji 120 film stocks of varying speeds, these photographs are untouched by filters or digital manipulation. There is no Photoshop here—only light, timing, and intention. The process begins with a conceptual spark, a rough sketch on paper, and a quiet calculation of exposure compensation using simple math.

From each roll of 15 exposures, only two images—on average—meet the artist’s high standard for composition and clarity. The boards themselves were sourced from the California Surf Museum in Oceanside, California, where they continue to reside on public display.

A culmination of craft and concept, this body of work earned the artist the cover of The Surfer’s Journal, June 2020 issue.

Each image is the result of a meticulous analog process: the artist manually advanced the medium-format film from frame to frame—1, 2, 3, and onward—exposing individual frames multiple times to achieve a visual rhythm of light, shape, and motion. What began as a curiosity with double exposure evolved into a deep exploration of compound exposures, pushing the limits of what could be revealed through light and film alone.

Shot entirely on Kodak and Fuji 120 film stocks of varying speeds, these photographs are untouched by filters or digital manipulation. There is no Photoshop here—only light, timing, and intention. The process begins with a conceptual spark, a rough sketch on paper, and a quiet calculation of exposure compensation using simple math.

From each roll of 15 exposures, only two images—on average—meet the artist’s high standard for composition and clarity. The boards themselves were sourced from the California Surf Museum in Oceanside, California, where they continue to reside on public display.

A culmination of craft and concept, this body of work earned the artist the cover of The Surfer’s Journal, June 2020 issue.

Each image is the result of a meticulous analog process: the artist manually advanced the medium-format film from frame to frame—1, 2, 3, and onward—exposing individual frames multiple times to achieve a visual rhythm of light, shape, and motion. What began as a curiosity with double exposure evolved into a deep exploration of compound exposures, pushing the limits of what could be revealed through light and film alone.

Shot entirely on Kodak and Fuji 120 film stocks of varying speeds, these photographs are untouched by filters or digital manipulation. There is no Photoshop here—only light, timing, and intention. The process begins with a conceptual spark, a rough sketch on paper, and a quiet calculation of exposure compensation using simple math.

From each roll of 15 exposures, only two images—on average—meet the artist’s high standard for composition and clarity. The boards themselves were sourced from the California Surf Museum in Oceanside, California, where they continue to reside on public display.

A culmination of craft and concept, this body of work earned the artist the cover of The Surfer’s Journal, June 2020 issue.

Each image is the result of a meticulous analog process: the artist manually advanced the medium-format film from frame to frame—1, 2, 3, and onward—exposing individual frames multiple times to achieve a visual rhythm of light, shape, and motion. What began as a curiosity with double exposure evolved into a deep exploration of compound exposures, pushing the limits of what could be revealed through light and film alone.

Shot entirely on Kodak and Fuji 120 film stocks of varying speeds, these photographs are untouched by filters or digital manipulation. There is no Photoshop here—only light, timing, and intention. The process begins with a conceptual spark, a rough sketch on paper, and a quiet calculation of exposure compensation using simple math.

From each roll of 15 exposures, only two images—on average—meet the artist’s high standard for composition and clarity. The boards themselves were sourced from the California Surf Museum in Oceanside, California, where they continue to reside on public display.

A culmination of craft and concept, this body of work earned the artist the cover of The Surfer’s Journal, June 2020 issue.