For my bachelor film ‘Kamp’, directed by Fleur van der Colk, I wanted to explore how camera perspective itself can become a way of telling the story. The film follows a camp counsellor during a summer camp. During the first part of the film we realise he only went to the camp to have fun and party with his fellow counsellors, this all changes when he stumbles upon a crying kid who just had an accident in the middle of the night. Until that moment, the camera never leaves him. We stay with his perspective, even if it means missing other characters or actions unfolding around him. Only after the turning point do we begin to include the antagonist in the frame, and as the story progresses, both characters are gradually drawn together until they finally share the same space in one image.

This approach allowed me to reflect on the way perspective shapes meaning: what we choose to show, and what we choose to leave out. Instead of focusing on visual spectacle, I wanted the rhythm of the images to follow the rhythm of emotion, allowing moments to breathe, letting absence and restriction carry as much weight as presence.

‘Kamp’ was a pivotal project for me. It marked a shift in my work from chasing purely “beautiful” frames to seeking out images that hold feeling, even if they’re unsettling or incomplete. It taught me to trust the power of the image itself, to let it linger, to leave space, and to use the frame as a window not only on the world but also on the way we experience it.

On set, I had the privilege of leading a large and motivated crew as DOP. Working with so many talented and dedicated people was an unforgettable experience, and I felt incredibly supported in bringing this vision to life. The collaboration and energy within the team made the whole process not only challenging but deeply rewarding.