Services
My work spans across commercials, campaigns, reportage and portraits, and it all starts with one approach: documentary instinct — observing people and environments as they naturally unfold.
But I’m not afraid to shape a scene when it helps the story.
Lighting, composition, subtle direction or staging can all play a role in making a moment visually stronger while still feeling authentic.
The goal isn’t to manufacture reality.
It’s to elevate it.
Authentic moments, carefully shaped.
Commercial & campaign
Cinematic, human-first imagery for brands, advertising/creative agencies & production companies.
I bring documentary instinct into commercial environments . This is director mode at full volume. I come in, build the conditions — locations scouted, lighting designed, talent briefed, energy managed — and then I do the thing that most commercial photographers forget to do: I let the humans be human inside it.
The result? Campaign imagery that feels like it was caught rather than constructed.
Whether it’s a full-scale campaign, branded content, or lifestyle storytelling, the goal is the same:
Make it look exceptional but not overly polished or staged, and make it feel believable. Which, if you're trying to connect with an audience that's seen every stock or AI photo trick in the book, is exactly the kind of thing that makes people stop scrolling.
Types of projects:
- Brand campaigns
- Lifestyle and product storytelling
- Integrated digital content
- Location-based shoots
- Multi-day productions
What's typically included:
- Pre-production: creative development, location scouting, casting & talent direction
- Full shoot day(s) with lighting, styling and set direction
- On-set art direction and client liaison
- Post-production: retouching and colour grading to final spec
- Licensing for agreed usage (digital, print, OOH, social)
- Option to include behind-the-scenes stills for content use
Documentary & reportage
Real stories. Real environments. Real life. Just slightly better lit.
I work with brands and NGOs to create long-form documentary work that brings people and stories to life in a way that audiences actually connect with. Not a brochure. Not a press release with pictures. A genuine piece of visual storytelling that happens to be in service of your mission.
The goal isn’t to dramatise.
It’s to honor.
I build trust quickly, work sensitively in complex environments, and create imagery that is emotionally grounded and respects the people at the heart of the story.
I'm particularly drawn to work that puts real people at the centre of a bigger story — whether that's a community affected by climate change, a team building something that matters, or individuals whose lives illustrate the impact of an organisation's work. Give me a human being and a story worth telling and I'll give you photographs that do the arguing for you.
Types of projects:
- NGO field storytelling
- Impact campaigns
- Social issue documentation
- Community-based projects
- Internal culture storytelling
What's typically included:
- Project development: research, story mapping, subject identification
- Location recces and access negotiation (where applicable)
- Multi-day or multi-location shoots, domestic or international
- Subject direction and relationship-building over time
- Edited final gallery with full-res delivery
- Optional: written captions and story narrative for publication
- Licensing for agreed channels: editorial, campaign, social, report
Portraiture & editorial
On-location portraits for people who haven't got time to pose, and wouldn't want to even if they did.
Environmental portraiture — meaning: your subject, in a place that makes sense for them, in light that actually flatters them, doing something that approximates being a real person. No studio. No grey seamless background. No expression that says "I'm being photographed and I hate it."
Most people are not natural in front of a camera. That's not a criticism — it's just true. My job is to build the right conditions around a subject, make a bit of conversation, find the light, and then wait until they forget why they're there. That's when the good photos happen.
I create portraits that feel grounded, confident and real — suitable for social campaigns, editorial commissions, corporate portrait series, executive photography for agencies and businesses, and personal or professional portraits for individuals. The approach is always the same: minimum fuss, maximum humanity.
Types of projects:
- Environmental portraits
- Leadership & executive portraits
- Editorial commissions
- Campaign character work
What's typically included:
- Pre-shoot consultation: understanding the subject, location options, intended use
- Location scouting or assessment of existing space
- Shoot day with portable lighting where needed
- Subject direction — keeping it relaxed, not formal
- Edited selects delivered to brief
- Licensing for agreed usage (press, corporate, editorial, social)
- Can be combined with documentary coverage for longer projects
How I actually make photographs
There are two modes, and most shoots involve both. Understanding which one is operating at any given moment is, frankly, most of the job.
Observer
Camera quiet. Movements small. No direction. I'm reading the room, watching the edges of the frame, waiting for the thing that was always going to happen anyway.
This is the documentary instinct — years of working in environments where the moment you try to control a situation, you lose it. You learn to be patient. You learn to be invisible. You learn that the best shot is often the one that happened two seconds after the one you thought was the best shot.
In this mode, my job is to not get in the way of reality.
Director
Now I'm thinking like a film director. Where's the light? How should the talent be positioned? What situation do I need to construct so that something real can happen inside it?
I'm building a stage — location, lighting, timing, energy — and then I'm handing the whole thing over to real human beings and letting them do what real human beings do. Which, it turns out, is almost always more interesting than anything I could have scripted.
In this mode, my job is to create the conditions for reality to be interesting.
The process
From first message
to final delivery — simply.
The process is broadly the same regardless of which service you need. It starts with a conversation, not a contract. Here's roughly what happens Here’s what the process tends to look like from first hello to final delivery of photographs you're actually excited about.
STEP 01
You get in touch
Tell me what you're working on — even if it's half-formed. A brief, a vague idea, a "we need some photography but we're not sure exactly what" — all of it works.
I'll respond like a human, not a sales funnel.
STEP 02
We have a proper chat
A call or a coffee. We'll talk through the brief together. What are you trying to achieve? Who's it for? What does success look like? I ask questions, you talk, I take notes. No pitch deck from me. No "synergy" or "deliverables matrix". Just a conversation so that I can truly understand the brief and find the most human way to photograph it.
STEP 03
I do the thinking
Creative approach, locations, logistics, talent (if needed), timeline. Some projects are fully produced shoots. Others are more observational, where I simply embed myself in the environment and follow what unfolds. Either way, I'll come back with a plan that answers the brief. You're welcome to poke holes in it; that's usually how the best ideas get better.
STEP 04
The shoot happens
This is the fun part. Sometimes I’m quietly observing people as they go about their day. Other times I’m directing a little more — shaping the light, adjusting the space, guiding people into situations where natural moments can unfold.
Think of it as documentary with a bit of gentle orchestration.
The aim is always the same: photographs that feel real, human, and alive.
STEP 05
Editing & selection
After the shoot I go through the images carefully and edit the strongest frames from the day.
You’ll receive a curated gallery to review and make your selections. If needed, we can refine the edit together depending on how the images will be used.
STEP 06
You get great images
Edited, color-graded, delivered to spec. On time. With no missing files, no cryptic export formats and ideally a handful of shots that genuinely surprise you (in a good way!). That last part is my goal every single time.
STEP 07
The bit afterwards
Once the work is out in the world, I always enjoy seeing where the images land.
Campaigns, publications, websites, annual reports — the story doesn’t really finish when the shutter closes.
And if another project comes along, the process starts again.
Things people usually ask me
Answers to the questions that come up in almost every first conversation — so we can spend the actual call talking about the interesting stuff.
Do you work internationally?
Yes — genuinely, not just technically. A significant chunk of my documentary work has been international, and I'm comfortable operating independently in unfamiliar environments. Travel costs are discussed as part of the project brief. If a project takes me somewhere interesting, I'm unlikely to say no.
How much does it cost?
It depends on the project — which I appreciate is the least satisfying answer possible. Commercial campaign work and multi-day documentary commissions are scoped individually based on what's involved. I don't publish day rates because they rarely tell the full story. Get in touch with a brief and I'll come back with a proper number — with no obligation and no hard sell attached.
Can you work alongside a video production?
Yes, and I'm used to it. Having spent time working alongside film crews, I understand how to work within a larger production without getting in the way of it — and how to find the photographs that video tends to miss. If you're running a hybrid photo/video shoot, let's talk about how to structure it so both outputs get the time they need.
What's your turnaround time?
For commercial shoots, typically 5–10 working days for a full edited gallery, depending on volume. For documentary work, it varies — long-form projects are delivered in agreed stages. I'm upfront about timelines before any shoot and I don't miss them without flagging it well in advance. If you need something urgently, tell me early and we'll work something out.
Do you do the creative direction or do you need a full brief?
Both work. Some clients arrive with a detailed brief, moodboard and clear vision — I'll execute it and add where I can. Others come with a goal and a rough idea and want me to do the creative thinking. I'm comfortable in either mode. The only thing I'd push back on is being handed a brief so prescriptive there's no room for something better to happen on the day. That's usually where the interesting photographs live.
We're an NGO with a limited budget. Is it still worth getting in touch?
Yes. Some of my most meaningful work has been with NGOs and charities operating on constrained budgets. I won't pretend rates don't exist, but I do consider projects on their merits — and a well-scoped, purposeful project with a social or environmental mission is exactly the kind of thing I want to be shooting more of. Come and talk to me.
What happens if something goes wrong on the day?
I'm insured, I have backups of everything, and I've been doing this long enough to have seen most things go sideways at least once. Equipment fails, weather changes, talent cancels at 7am. What doesn't change is the goal — and I'll adapt to get there. If something genuinely derails a shoot in a way that affects the deliverable, I'll tell you clearly and we'll work out a solution together, not after the fact.
Do you shoot video?
Technically, I can. But to be honest, I prefer to focus my attention on photography and creative direction. If video content is required, I know some great cinematographers would gladly help out. Likewise for graphic design, illustration, motion graphics and editing — I have a wonderful network of tip top creative folk that I can call upon if needed.
Interested in working together?
The first conversation costs nothing and commits you to nothing. Tell me what you're working on — even if the brief isn't fully baked — and we'll figure out together whether I'm the right fit. No pitch decks, no automated responses, no "we'll be in touch within 5–7 business days."
Just a reply from an actual person who read your email.