About
I am a London-based fine art photographer, working predominantly with medium and large format film, as well as silver gelatin processes including direct positive prints, paper negatives and photograms. I trained as an art historian and my work, which largely traverses landscape, still life and portraiture, has been exhibited internationally.
With a particular interest in the subtle shifts between realism and abstraction, my images are focussed on bold conceptual elements and simple, sometimes notional, compositions. Using meticulous practices and slow, deliberate techniques, I record arrangements that often feel impermanent and mutable; a form of image-making which is reductive in essence.
Please contact for any requests or enquiries.
Method
Large Format
A large format film camera is about as minimal as you can get. This traditional design is reminiscent of the first cameras used for capturing an image, going back to the invention of photography in the early 19th century.
The particular model I use is a Chamonix. It is made from teak wood and carbon fibre, and was handcrafted in an artisan workshop in China. Whereas other traditional large format cameras have been quite cumbersome and often confined to a studio setting, this lightweight folding model is just as comfortable being carried out into the wilderness.
It’s a slow and methodical process to make a single analogue picture, but the quality and control with a camera like this is incomparable. Its slowness is also its charm. Making a large format picture requires focus and zen-like composure. A large format picture stands at odds with the oversaturated digital world.
It is a meditative process which can be quite humbling at times, and hypnotic at others. The creative outcome from this method of photography is a true labour of love.
Medium Format
The Japanese-made Pentax 67 is a unique and idiosyncratic film camera, somehow both familiar and peculiar. It’s heavy - crafted from brass, glass and wood in the late 1970s. The Pentax is still highly sought-after, and has a cult-like following amongst analogue photographers today.
This medium format camera is more portable than the large format field camera, but still requires a meticulous and deliberate process to make a picture. It takes enough time to load and is unsubtle in just about every way. But as with the large format camera, these difficulties are also what makes using such a camera so appealing in this day and age. The picture quality from chemicals and film is still better than most current digital cameras, with a crisp rendering and unique depth and atmosphere.
Follow the journey
