I grew up in a small village in Carinthia, in the south of Austria, surrounded by mountains, forests and lakes.

As a teenager I started filming and editing videos of me and my friends freeskiing, That was how I first picked up a camera. It led to first jobs shooting for the Austrian Ski Federation and later doing video work for the Carinthian Green Party. That was how it became something more serious.

After finishing school I first studied forestry, which runs deep in my family. My father studied it, as did my grandfather and my grandmother, who is still attending forestry congresses at 88. It is a subject that connects natural sciences, engineering and economics, and even though forestry was never my passion, it will always have a special place in my heart.

But when the chance came to pursue filmmaking, something I had dreamed about since those first days filming ski tricks in the Carinthian mountains, I took it.

I came to narrative film through the art department, working as a set designer's assistant, props buyer and location scout between 2019 and 2021, before I was accepted to the Filmakademie Wien. There I was first taught by Prof. Wolfgang Thaler and later by Prof. Christine A. Maier. I am drawn to socially relevant, character driven stories that are close to real life. Beyond fiction, I am drawn to documentary work, particularly projects connected to sport, nature, science or social issues.

My approach always starts with the script. I like to be involved early. The more time a director and cinematographer have to develop a shared understanding of a film, the better the work tends to be. I listen first. If references help communicate an idea or illustrate a look, I'll bring them but I have no interest in imposing a signature style. I think of visual styles as languages, and my aim is to be fluent in as many of them as possible, always in service of the story a director wants to tell.

Over the past few years I have also taken on DIT work on various productions, short films as well as larger projects including "Happyland," "The Souffleur" with Willem Dafoe, and the upcoming film "Kristallnacht" by Stefan Ruzowitzky. I was trained in data management and workflow by Gerhard Riesenhuber, one of Austria's first DITs, and mentored in on-set live grading and image control by Ioan Gavriel. Between the two I have developed an understanding of the role of the DIT that I can adapt to the needs of any production. Depending on the project, my experience as a cinematographer allows me to combine the DIT role with operating the B-Camera. I work with Silverstack, Livegrade and DaVinci Resolve and am comfortable across a range of camera formats and on-set color workflows.