Waleed Sokkar: Chasing Light

Waleed Sokkar is a filmmaker and cinematographer whose work spans music, fashion, and film.

Waleed Sokkar is a cinematographer and photographer whose work moves fluidly between cinema, fashion, and music. His work defines a precise visual language and reflects a steady record of international recognition. His portfolio spans studio feature films and global campaigns for houses such as Armani, Hugo Boss, and Fendi. In addition, he has collaborations with artists including Dua Lipa, Becky G, Addison Rae, and Nessa Barrett.

His films and visual work have been widely awarded across major festivals and industry platforms. Letter to Rosie earned Best Short Film at the Ciclope Festival and recognition for cultural impact at Berlin Commercial. Make Room secured multiple honors, including Best Drama at the Made in Huntington Film & TV Festival. It also won Best Cinematography at the International Photography Awards, and Best Indie Short Film at the Florence International Film Festival. Into the Abyss established him as a standout in cinematography. It collected awards across New York, European, Canadian, and Asian cinematography competitions. It also brought Best Experimental Film distinctions in both New York and London.

His work in music and commercial film has also earned consistent recognition, winning multiple Best Cinematography awards at the Munich Music Video Awards and securing selections at Berlin Commercial. Earlier projects such as Flash Bang earned awards at both the Astoria and Dumbo Film Festivals.This marked the beginning of a trajectory defined by visual precision and critical acclaim.

Born in Egypt, raised in Europe, Sokkar’s career reflects a distinctly international perspective shaped by years of movement across continents. He’s remembers particularly well his years in Belgium, and says it’s important part of his identity. Now working between New York and Los Angeles, with projects spanning Europe and the Middle East, his practice maintains a global rhythm. He balances large-scale productions with a continued focus on craft and image-making.

In an exclusive interview for IRK Magazine, he shares his perspective.

IRK: Do you remember the exact moment you decided to pursue what you do right now as a career? 

Waleed Sokkar: It was something that was accidentally ingrained in me from a very young age. My father was a huge film enthusiast, so going to the video store to rent movies and having marathon screenings together was his idea of quality time.  That was how we spent most weekends. Those moments subconsciously shaped me – watching films, being inspired, and eventually realizing I wanted to be part of that world myself. 

IRK: Do you have a personal “bible” or a quote – a rule, principle, or reference you return to when the working on your projects? 

Waleed Sokkar: My north star is always doing it for the love of the craft first and foremost. The act of bringing something to life through photography feels like a miracle to me. I approach every project as if it were my last, but it never feels like work. When you’re really passionate about anything, it feels like play, and that allows you to pour into it without limits.  At the end of the day, I’m still that young kid living out his dream. That’s something I remind myself of constantly, it’s a privilege, and I stay grateful for it. 

IRK: What is your favorite medium to work in or consume?

Waleed Sokkar: It’s hard to choose. As long as I have a camera in my hand, I feel alive – whether it’s motion or still. I love shooting films: reading a script, imagining the scenes, the characters, how I would light them and move the camera to tell the story. It’s a feeling that’s hard to describe.  At the same time, I love photographing fashion campaigns and editorials just as much. There’s something very grounding about still photography for me. Even outside of paid work, I’m constantly photographing people and places wherever I go. 

IRK: When you’re creating, do you focus more on narrative, emotion, or visual impact, or something else entirely? 

Waleed Sokkar: It’s always a combination right? The narrative informs everything, and the emotion naturally comes from that – the story, the backstory, the concept.  But lighting speaks to me just as much. I’m inspired by light on faces, how it moves and the shadows it creates. It makes me feel something, and I try to translate that into the work. It really changes everything when you finally begin to truly see and feel the light as a conscious emotional part of your process.  I really believe that if you pay attention, light speaks to you. I remember hearing Roger Deakins say: “If you want to understand light, just look around you and pay attention.” It’s such a simple idea, but most people never truly do it. 

IRK: Do you prefer when lighting is mentioned in scripts, or do you like the freedom to interpret it yourself?

Waleed Sokkar: I love the freedom to interpret, but a mix is interesting. Some parts can guide me, but overall, freedom lets me create a visual language where light becomes a character. Nowadays, writers include less and less in scripts.

IRK: When working with big brands, how do you protect the original concept from getting diluted? 

Waleed Sokkar: It’s different every time. Not all brands dilute ideas. It really depends on their vision and goals. I’m often brought in for my visual language, so there’s already trust in what I do. That said, creative differences are normal. The key is communication, finding the balance between serving the client and protecting the integrity of the idea. It is also important to remind them why a certain visual approach strengthens the storytelling. 

IRK: Do you feel photography makes the world around us easier for you to understand, or does it only become more mysterious? 

Waleed Sokkar: I can’t imagine life without photography. I don’t know if it makes the world easier to understand. If anything, life remains a mystery.  But what I do know is that I want to keep photographing for as long as I’m here. 

IRK: Do you have a city, country, café, or movie that inspires you visually, like a mantra?

Waleed Sokkar: “Paris, Texas” by Robbie Muller is a major influence because of his photographic sensibility. I’m also obsessed with Los Angeles at night – its darker, underused side. I gravitate toward neon cities and nighttime aesthetics but love light in general.

IRK: What’s the most overhyped idea right now in the creative industry? 

Waleed Sokkar: Instant gratification and AI-driven creation are two of the most overhyped ideas right now. I’m an 80’s kid and come from an analog mindset. I still mostly shoot film. There’s a certain mystery in not knowing exactly what you captured until you see the results. That anticipation forces intention and discipline. Nowadays everything looks the same. Things hardly feel unique, especially with the speed of social media, TikTok boom and AI creation tools.  Or maybe I’m just old school with no desire to catch up to the times. 

IRK: If you could choose one idol of yours to have a cup of coffee with, who would it be? 

Waleed Sokkar: I don’t actually drink coffee, but if I did, it would be between Helmut Newton and Robbie Müller.

IRK: If you had a time machine and could travel anywhere in the past, where would you go first? 

Waleed Sokkar: Probably the Wild West first. I have always found that era fascinating through film. Then the Italian Renaissance, to witness artists like Leonardo da Vinci or Caravaggio at work. 

IRK: If you could be a fly for a day, on whose wall would you love to spend that day and why? 

Waleed Sokkar: I’d be on Helmut Newton’s wall, watching him direct and photograph models with a Polaroid in hand.

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Check out Waleed’s portfolio here.

Parisian nights by Stephane Rolland