My process is simple. I strip everything down, because that’s when people look most beautiful to me — no elaborate setup, nothing to hide behind. Just stopping someone and paying attention.

I’m drawn to Nan Goldin’s rawness, catching someone as they actually are, mixed with the clean, precise look I love in Robert Mapplethorpe’s work. It’s an odd combination, honestly: unguarded and controlled at the same time.

What I want, more than anything, is for each image to feel singular — the kind of photo you can’t quite explain, but you know you’ll never forget it.