Light, held a moment longer.
Landscape Portrait Available light
I photograph the quiet hour, when the hills go to silver and faces soften.
I work mostly on film, slowly, with whatever light the day decides to give. Most of it is made in open country, on the coast, in the hills, or across the plains where the sky gets wide.
The work below is a set of concept frames made for this portfolio. Tonal studies, not finished prints, shown to hold the mood of the room.
Selected frames
Six concept studiesEach plate is a generative tonal study rendered in the browser: duotone, film grain, a considered composition unique to that frame. They stand in for prints, to hold the mood of the room. No specific place or person is depicted.
A photograph is just light, held still until you can look at it properly.
I am not after the dramatic frame. I want the one a few seconds either side of it, when the light is honest and nobody is performing. That is usually the photograph worth keeping.
How a sitting goes
A conversation
We talk first, by phone or over coffee. I want to understand what the photographs are for and where they will live, before we plan a single frame.
The right light
We pick a time, not just a place. The hour and the weather matter more than the location. I would rather wait a week for the light than force a flat afternoon.
An unhurried sitting
On the day we work slowly. I shoot film and digital side by side, give it room to breathe, and let the good frames arrive instead of chasing them.
Prints that last
You receive a considered edit and, where you want them, archival prints. I would rather hand back twenty frames you love than two hundred you scroll past.
Let's make
something quiet.
Portrait sittings, landscape commissions, and prints. Tell me a little about what you have in mind.