I'm a photographer based in London, working in natural light across travel, documentary, and portraiture. I look for the calm in busy places and the story in small details.
My work has appeared in the New York Times, Condé Nast Traveller, and The Guardian Weekend, among others. I take on a small number of commissions each year.
The beginning
I was nine when my father first let me hold his camera - the Pentax K1000.
Photography didn't feel like a possibility back then, not in any serious sense. But the images my father made — family holidays around the world, a blurred cousin at a wedding, the breath-taking sunsets in October — those stayed with me in a way that is hard to explain.
"The viewfinder reduced the world to a small bright rectangle. It felt like a secret."
I came to London at eighteen to study architecture at the Bartlett. It wasn't long before I was spending more time documenting buildings on a secondhand disposable camera than drawing them on paper. My tutors were understanding. Mostly.
Morocco changed things
A summer in Marrakech after my second year at university was where it properly started. I'd left the architectural drawings behind and spent three weeks there with nothing but a secondhand Nikon FM2 and more rolls of Kodak Portra than I could afford. I wasn't trying to be a photographer. I was trying to understand a place.
The photographs I came back with were the first I was genuinely proud of — not technically, but honestly. They captured something I hadn't managed to plan. I withdrew from architecture the following autumn. My parents were not immediately enthusiastic.
I spent the next year shooting anything I could. Street scenes in Peckham. Portraits of my flatmates. The interior of the bus I took to a part-time job in Bermondsey. I was learning to look.
Learning the craft
The years that followed were a slow and occasionally humbling education. I assisted portrait photographers in Shoreditch for almost nothing, shot weekend weddings to pay rent, and spent evenings in a darkroom in Hackney I shared with four other photographers. The darkroom taught me more than any course — about patience, about light, about the gap between what you think you captured and what you actually did.
My first editorial commission came from a small travel supplement in 2017. The fee barely covered the flights, but it felt like the start of something real. A year later, a photograph from a series I shot in rural Iceland during a four-day blizzard was picked up by the New York Times.
"I was in a Costa Coffee when I got the email. I must have reread it five times."
Since then I've worked steadily — building a practice around long-form projects and a handful of portrait and travel commissions each year. It hasn't always been linear, and it hasn't always been easy, but it has always been interesting.
The work now
I'm drawn to places on the edge of change — communities, landscapes, and people caught in a moment that won't quite last. Much of my recent work has been shot in natural or available light, which suits both my temperament and my subject matter. I don't like to disturb a scene to photograph it.
When I'm not on assignment, I'm usually somewhere with bad phone signal and a good reason to be there. I still shoot film occasionally, though my Pentax K1000 — my father's, finally inherited — lives in a cupboard and comes out only on special occasions.
I'm based in East London, where I live with a lot of books and not enough wall space for all the prints.
Selected publications & clients
The New York TimesMagazine, Travel
Condé Nast TravellerEditorial, 2022–present
The GuardianWeekend supplement
MonocleTravel, Culture
Foam MagazineDocumentary series
British Journal of PhotographyPortfolio feature
National GeographicOnline, 2023
Aperture FoundationGroup exhibition
Get in touch
I take on a small number of commissions each year across travel, portraiture, and documentary work. If you have a project in mind, I'd love to hear about it.