Film Photography

This gallery is a personal collection of film images captured on a mix of cameras, Hasselblad, Nikon F4, Pentax UC1, and even the occasional disposable. The work is casual and intuitive: street photography, travel moments, and quiet details noticed while walking around. Each frame is less about subject than about feeling - where light, line, and composition align into something pleasing and unexpected.

Studio Visits

Studio Visits is an ongoing series of portraits made with friends and visitors who come through my studio , images that live between the professional and the playful. Each session is built around trust and comfort, creating a safe space where nothing is forced and everything is felt through. The work celebrates spontaneity and design: bursts of color, compositional experimentation, and the quiet decisive moments that happen between laughter and focus. The result is a collection of portraits that feel personal, connected, and alive and irreverent but never careless, intimate without being heavy.

Remember to Remember

“remember to remember” is a self-published photographic series by Beau Roulette, originally exhibited at Empire Seven Gallery in San Jose, CA. All of the images were shot on film, captured between 2006 and 2012 — roughly a six-year stretch documenting a raw, restless period of exploration and connection.

The work spans surf trips, street life, self-portraits, nights that blurred into mornings, and fleeting moments that defined a generation of artists and friends. Many more images exist within the book — including a fair share of not-safe-for-work photographs, along with portraits of well-known athletes, musicians, and artists, and scenes from famous places around the world.

At its heart, the series is a compilation of things worth remembering from a time Beau didn’t want to forget — a wild, honest record of youth, chaos, and the beautiful mess that came with it. Shot entirely on a Pentax UC-1 film camera, remember to remember is both a time capsule and a love letter to the decisive, unfiltered moments that made everything feel alive.

Down South in Hell

Down South in Hell is a self-published zine (2018) that collects the raw, unscripted beauty of travel and everyday life through my lens. It’s part road trip, part spontaneous diary—snapshots of small towns, passing light, quiet gestures, and the in-between moments that don’t always make it into polished travel photography. The images aren’t posed; they’re caught. The visual narrative is loose, unpredictable, and alive with a sense of place.

This is work that embraces grit, richness, and the poetry in the overlooked — a visual text where the journey itself is the point, not just the destinations.

Satan Said So

In 2014, I exhibited a series of 34 photographs at Book and Job Gallery in San Francisco. The collection presents a stark and hypnotic repetition: women, often topless, sometimes nude, headbanging with raw abandon in front of a massive redwood pentagram I built as the central set piece. Each image is framed against a white backdrop with a wooden floor, creating a stripped-down stage where gesture, hair, and motion become the subject as much as the body itself.

The work blurs ritual and performance, reducing the scene to pure rhythm and force while maintaining a cohesive visual language across all 34 images. The repetition is deliberate: every photograph offers a new variation on the same act, pushing the viewer to notice subtle differences in posture, hair movement, and presence.

The series was also self-published as a book, further distilling the project into a singular, collectible object that extends the exhibition beyond the gallery walls.