I learned how to wait in a darkroom under the red light, watching chemistry decide what it wanted to give me. That became the job. Knowing when to stay in the room before the image is ready.

I spent many years behind cameras, on film sets, inside production schedules that teach you one thing above all else: get it right when there is no second take. Campaigns for global brands, fashion editorials, commercial films, the kind of work where the brief says one thing and the room needs another, and you have to read both without anyone explaining the difference. 

Over time I realized what I was actually doing had less to do with cameras and more to do with something harder to name. Noticing. Reading surfaces. Knowing when a shot, a team, a conversation was carrying something real, and when it was performing.

I think that comes from years of getting things wrong in enough rooms that your body starts to register quality before your vocabulary catches up. Eu não sei explicar isso de outro jeito.

Now I work across everything and nothing specific. I direct, I produce, I shape creative teams, I build systems around the work so the work can survive the system. The title changes depending on the week and I stopped trying to make it hold still, because the interesting part was never the title. It was the proximity. Being close enough to the material that you can feel when the gain is too high and the whole thing starts distorting.

I think the through-line, if there is one, is something about honesty in the output. Whether it holds. Whether you can feel a person behind it. I am not always sure I get it right. I am sure I can tell when it is wrong, which is maybe the more useful skill at this point.