Faraz Alam is a freelance artist and educator whose focus is to help environmentally focused individuals, businesses, and organizations meet their visual communication and/or educational outreach goals. He completed his masters in mass communication from MCRC, Jamia Millia Islamia. In a multicultural economy that often seeks to divorce profits from value, his mission is to try and make the most of the opportunity that is offered to his generation in terms of the burgeoning growth of the cultural sectors. Born in Libya, his early thirteen years were shaped by authoritarian rule and a life in a desert. However, those Libyan memories he still only sees through the naive lens of a child. They then had limited knowledge about the outside world, and photography and films were almost not available and mostly censored. But it was exactly this which made it a fascinating object. Looking at himself today as a camera enthusiast, he views the visual treatment of a film both as a need and a compliment for the story and the filmmaker, with the camera being one of the intermediate junctions between the story and the viewers. The use of camera to establish time – when it drives the story forward or leaves it stagnant, depending on the need. The objective versus subjective use of camera work to involve the viewer in the story or detach him from the same, are all a few examples of how camerawork can be manipulated to tell a story the way you want it to be told. Speaking from a more personal point of view, there’s almost a dreamlike quality in being able to view someone’s life through a lens. It provides an experimental approach that allows him to tell a story the way he perceives it. Manipulating storytelling on one hand, and capturing the free flowing elements of nature to create a mise en scène on the other, defines the pull cinematography holds for him. Cinema is the only art form that he finds comfortable yet dynamic enough to explore the art of storytelling with.