two strangers pass and shift their shoulders. or two share the same patch of light,
one standing, one sitting. in street photography, these moments make the frame feel alive.
harmony and rhythm. in cinema, that blocking instinct becomes a decision. where do they stand? where will they move?

answering those questions starts long before the camera rolls. on set, it’s walking the space with the director, watching the actors rehearse, noticing how one small step changes the sightline. or how shifting a chair opens the frame for a reaction. sometimes it’s adjusting a mark by just a few centimeters because the lens needs more room, or the light catches better from that angle.

when i block, i look for bodies facing in different directions, rotations, and those moments
of looking back. i like high and low, left and right eye-lines, the space people give each other.
all of this helps the image feel three-dimensional.