My first images were shot on a Nikon FM in rural Rwanda—documenting families returning to homes rebuilt after the genocide. I developed the film by hand, wrote their stories at night, and tried to understand how a space becomes something more than shelter—how it becomes memory, identity, hope.

Later, I studied law. It taught me how to think with clarity, how to see with discipline. But it was photography that taught me how to feel what mattered—and how to frame it.

Bel Air Visuals is where those two instincts meet: structure and soul.\

I work with agents who want more than marketing. They want meaning—crafted with restraint, intention, and a sharp emotional edge. That’s the kind of image I make: the kind that doesn’t just show a home, but helps someone feel ready to step into it.

If that resonates, let’s tell that kind of story—together.