BIO
Kurt creates portraits that are as intimate as they are cinematic: charged moments set against backdrops that feel pulled from an unseen film. His images are rich with story, detail, and emotional weight.
Raised between Ohio, Argentina, and Mexico, Kurt’s visual language was forged behind the scenes of cinema itself. Working as a movie electrician, he learned the language of light from master cinematographers and studied actors up close, lessons that continue to shape his vision today.
At PICTUREKID, Kurt stands at the intersection of storytelling and style. His work doesn’t just capture likeness - it reveals presence, pulling viewers into frames that feel distinctive, unshakable, and impossible to ignore.
A MOMENT WITH KURT
Camera or lens?
Lens all day long. The thing that makes a lens great is subjective. Essentially a lens is a piece of glass transmitting an image, but there are layers of coating on each lens that give it very specific characteristics. In old lenses they used chemicals in the coating that are not even legal anymore, and those chemicals create qualities optically that you can’t replicate with modern technology. If the lens has been preserved well, it’s like fine wine. The weather and terroir of that era is baked into the quality.
What’s your favorite light?
The sun. I used to be a movie electrician and one of the DP’s I worked with and admired was Bruce Surtees. He once said to me: “Goddammit Kurt, look at all those fucking lights on this set. The only light you need is the sun. It’s as far away and as high in the sky as possible. Right where a light should be.”
I love lighting. If I had a choice, I would always start with the sun.
If your photography had a soundtrack, what’s track one?
‘Turd on the Run’ by The Rolling Stones.
Martini order?
There is only one martini - and it involves Duke’s in London and vermouth poured out on the carpet. Everything else is some hipster variation of nonsense.