Sebastian Nevols' home has been photography and it's in this area that he has, in the past, learnt his craft and built up his reputation. But Nevols is now branching out and making some incredible music videos using his photographic background.

Foremost among these is the video for 'I Am Not Who You Want' from south London artist Halls. To go along with the atmospheric and moody music is a captivating 3 and a half minutes of swirling colour; at first thick and cloudy, but eventually thinning out and disappearing to reveal the presence of a single rose. So how did stunning video get made?

"Although it's perceived to be slowed down it's actually shot in real time. I used a tungsten light  which generated a convection current in the tank that created a really nice flow to the movement of the ink."

One of my favourite videos for quite a while has also a lot to do with serendipity. Sebastian and his brother were merely playing around with these effects when they saw the potential of it. They had no video in mind, but, when he laid a Halls track over it "it really worked."

Nevols approaches videos from the point of view of a cinematographer, looking at a series of still images rather than one moving image. This tends to lead to a focus on the image but not so much on the narrative. Music, he says, is the narrative and the music is what should dictate. "My videos should complement," he says. Halls, whose music is also slightly removed from a having a strict narrative, and Nevols do seem like a perfect match.

Nevols has worked on Halls with all his videos to date. 'I Am Not Who You Want' is a solo venture, but the video for 'Solace', with its synchronised lights and cavernous layouts, is a collaborative effort with fellow director Robin Ockleford.

"Someone can have a vision but everyone interprets that differently, and finding a balance with someone else is key to creating something that helps communicate a vision better," says Nevols of his relationship with Ockleford.

The video for 'Solace' is part empty and cavernous, set in a rustic looking theatre. But it's also part close and intimate. We find another flower appearing in this video, giving added meaning to the original song.

Of course that's the great thing about an enduring relationship between an artist and music director. You can start to make connections between different pieces and then build on them as time goes by and you have more videos to base your theories on: themes in a video which were allusions become hallmarks. 

Let's have another go. Hey Sebastien, is it a coincidence that the video for 'Solace' and 'White Chalks' (the latest offering) are set in cavernous spaces?

"No, one did lead to the other. For 'Solace', we liked the idea of this very lone, very still figure in a big empty space that could just be filled up with the music. For White Chalk we wanted to come back to this sense of expanse, or limitless space. There's a lack of confinement and a sense of freedom which suits the music."

I think that's a nice juxtaposition on which to end things on.