Q: What do you consider to be your visual signature? What makes your work recognisable?

T: I think I am still figuring out what is my signature but the more it goes, the more it is getting clear and defined. I really like simple and minimal lighting as well as neutral colours and make a statement out of it using shapes in the posing and styling. I think what makes my work most recognisable at the moment is the way I light the models (I love soft light).

: Tell us about something that has inspired you recently?

T: I get inspired by many things, many artists and other photographers. But recently, I think what is fuelling me with creative ideas is my vulnerability facing things that are out of my control.

What’s the highest moment of your career so far?

T: I think the highest moment of my very young career is now. Having very talented people wanting to work with me and agents/representatives liking my work.

Q: What camera do you use?

T: I use a Canon 5D Mark III. Love it.

Q: What’s your process for shoots?

T: It starts with an idea that I have let grow in the back of my head (tests for agencies or editorials). I take screenshots of what inspires me over time and make a moodboard out of it (lighting, styling, makeup, hair, etc.) that I will keep and refine with updated details which can be notes, sketches or people I have in mind for the project. I then contact creatives, let them know about what I would like to do, and try to pull a team together and set a date. From that moment til the day of the shoot, I have a fair idea of what I want and how to go about it but I most of the time do some research regarding lighting set ups. I also keep in touch with the creatives to know how they are getting on and make sure myself that things are all organised for the shoot. On the day of the shoot, I have to direct this team and it can be very stressful. My solution to that is to try to relax as much as possible, be confident (and funny) and create a conversation. Most of my shoots (all of them actually) end up being an exchange open to suggestions where everyone feels free to share their ideas to make the images better and that’s how collaborations are supposed to work so it doesn’t feel like I am directing most of the time. I eventually spend days retouching/editing, and tada final product! What’s the most challenging aspect of being a photographer? It is several things making a whole thing: remaining inspired, keep improving, staying relevant to the industry, knowing how to market their business and network with the right people.  

Q: You recently released your project ‘Good Mourning’, please tell us about your inspirations behind this editorial?

T: My inspiration behind this editorial is basically grief in all its forms. I feel the story it tells is different for everyone and because people can relay to how it makes them feel, it’s beautiful.

Q: What’s your favourite image you’ve taken?

T: The one I am going to take tomorrow. It is always like that. But at this precise moment, my favourite shot is probably one from my editorial for Dreamingless Magazine called Box Less. The model has white tears dripping on her cheeks looking like silicone/wax and she looks so fierce. I remember shooting this picture and hearing the model’s breath. She was so dedicated and in her character. It was honestly amazing.

Q: What’s the ultimate goal for you?

T: Always being creatively fulfilled and being able to afford life at the same time. Getting representation might also boost my career so I am pushing for that.

Q: When did you realise photography was your calling?

T: I think when I felt creatively limited shooting with my point and shoot Olympus camera and wanted to upgrade in 2013, I realised that I also felt the need to get better at it. After years of wanting to be better at photography, I just made the conclusion that it was my thing.

Q: Is there anything about the industry you want to change?

T: There is a lot of things coming with the motivation of becoming a full-time photographer. The acceptance of a highly competitive industry filled with a lot of talented people means you need to be driven to be authentic and noticeable. Making your way in and succeeding is not supposed to be easy and it should stay that way but it can be a hard sometimes as the struggle is real, trying to be at the right place at the right time. But if I could change one thing about the industry, I would change the competitive aspect or the notion of rivalry between photographers within small area. Of course in a creative way it can be encouraging but on the whole it can be very negative and I feel there is space for everyone as we all have different creative voices and visions!