When I get ready for a shoot, whether it’s for a client or just during my own travel adventures, I find myself balancing two things in my mind: being completely present in the moment while also keeping a loose visual storytelling framework in the background. I start by being open to whatever catches my eye, tuning in to the energy of the scene or the emotions of the subject. At the same time, I hold onto a flexible mental guide, a narrative arc that guides how the visual story will unfold. At its core, a visual story is just like any other story — it’s not just a single image, but a collection of moments woven together, creating a rhythm, a sense of time, a deeper meaning or elaboration. Much like a well-crafted written narrative, it has a beginning, a setting, characters, and an emotional tone. This is the structure I often follow (roughly): The first image is what I like to call the establishing shot. It sets the stage and provides context—where it is and when. It could be a sweeping landscape, a cozy corner of a café, a breathtaking view from a mountaintop, or the warm interior of a country kitchen. This shot grounds the viewer, giving them a sense of place and a gateway into the world of the subject or the story. Think wide and expansive. It usually is a wider shot encompassing the whole scene.

Next is the hero shot. This is the heart of the story—the subject, the who or what the story is about. It’s typically a medium-framed image: a woman baking at the kitchen counter, someone enjoying coffee in the morning light, or an animal roaming through the open landscape. I often think of it as the cover shot of a magazine—the one that tells us what this story is about, the central figure or moment we’re here to meet.

Then, I look for the detail shots. As you can probably imply, these are tighter compositions. These are the subtle intricacies that enrich the narrative — the flour dusting a wooden table, coffee drips soaking into a newspaper, the soft velvet of a hotel chair, or the delicate petals of a bouquet. The devil really lives in these details. They add nuance, awaken the senses, and bring texture and depth to the story. It’s in these small, intentional moments that the story truly comes alive.

Finally, I like to include what I refer to as atmospheric shots. These images are all about capturing emotion and tone. They lean more towards the aesthetic side rather than telling a story—think of glimpses of a sky painted with light, the sun's rays dancing through the trees, or the gentle rush of ocean waves rolling in. They literally reflect the atmosphere of the story. These shots help set the mood of the story, creating a pause between moments. When framed thoughtfully and enhanced by color and light, they add extra layers of depth and feeling.

This is the approach I return to when crafting a visual narrative: four types of images arranged in a sequence that unfolds like a novel, complete with rhythm, pacing, and emotional flow. It provides a solid structure while still allowing room for intuition, experimentation, and spontaneity. It ensures I’ve covered the essentials while also giving me the freedom to follow the unfolding scene, tuning into what the moment offers, what the client envisions, and what feels most vibrant to capture a well-rounded story. I don’t necessarily shoot these in a specific order, usually, I shoot freely and intuitively to what’s unfolding in the moment, but I always have these in the back of my mind.