About Hasan
Twelve years of standing still in loud rooms
I started shooting weddings in Beirut in 2014 with one body and a 35mm, and I still work the same way: close, quiet, and never asking anyone to do it again for the camera.
Since 2019 most of the week is commercial: menus and launch campaigns for restaurants and brands, lookbooks and e-commerce with Vok Studios. The video came with it — a second body rolling on the same set, so a job leaves with the stills, a film and the vertical cuts rather than one of the three. Same lighting discipline, different kind of nerve. Everything is culled by hand and graded on a calibrated screen, stills and footage to one look.
Hasan
In the bag
One body, three primes
Enough to cover a day and light enough to carry for fourteen hours. The second shooter runs the same kit so the two edits cut together.
- 35mm f/1.4The room, the aisle, anything with context
- 85mm f/1.2Portraits, vows, the long lens across a reception
- 100mm macroRings, paper, jewellery, the steam off a plate
- Two bodiesOne always loaded, one always on a strap
- Three strobesGelled to the room, or a single big box over a table
- Gimbal & slidersThe motion rig, run off the same lights
- Calibrated gradeStills and footage, graded to one look
In their words
The trade
Three dials, one decision
Aperture, shutter, ISO. Move one and you pay for it somewhere else. Twelve years in, the arithmetic is reflex — which is the only reason there is time left over to watch the room.
Sensitivity ISO 100
The album
What it looks like printed
Drag a page across to turn it. Every wedding collection ends here — hand-bound, on cotton stock.