Can you give us a brief background about yourself and your work?
After years working in fashion and high-production commercial shoots, I stepped away from the world of stylised perfection to pursue something more elemental. What began as a desire to travel became a deeper calling – to observe, to slow down, and to capture the quiet that still exists beneath the surface of even the most photographed places. My practice now focuses on the spaces between spectacle and stillness. In contrast to the choreographed energy of my earlier work, my photography today embraces natural light, silence, and the unplanned. I seek out places that resist the rush of modern life, where time feels suspended – sometimes abandoned, sometimes eternal. My images carry the marks of a life lived off-grid: pared back, instinctive, and deeply intentional. This shift isn’t just aesthetic; it’s philosophical. A letting go. A return to looking.
Has photography taken you anywhere you never expected to go?
I never imagined photography would take me to Ethiopia, commissioned to shoot a capsule collection for an East African fashion brand. Capturing that alongside my best friend made it even better.
If you weren’t a photographer, what do you think you would be doing instead?
Even if photography weren’t my profession, I’d still be taking pictures. It started when my best friends and I left school. I picked up a camera simply to hold on to those moments. So whatever path I’d be on, I know I’d still find myself documenting the people and places around me.
What has been a standout moment in your career so far? A standout moment was
having my first solo exhibition. Images deserve to live on paper, not just on screens, and seeing the work printed and displayed in a space of its own was incredibly meaningful.
Which photographers or artists inspire your work the most?
John Sypal’s everyday storytelling in Japan, Jack Davison’s abstraction, and Neil Krug’s cinematic worlds each influence a different part of how I see and shoot.
If you could have your dream camera kit, what would it include?
I have a process that works for me, so I don’t feel the need to add anything more to it. What interests me now is experimenting further in post-production. An area I’m hoping to keep growing in and use to elevate the work, shoot by shoot.
Do you still shoot on film? If so, what draws you to it?
I do. It’s something I’ll never stop falling in love with. Film is a high-risk, high-reward medium, but it gives you a kind of freedom. You’re more present, you take fewer frames, and you only press the shutter when it truly matters. As for the results, some things are worth waiting for.
If you could create your ultimate dream shoot, what would it look like?
A dream of mine is to create a photograph that is immortalised on the front of a record. Perhaps a Tame Impala or McCartney album will do
