Me & Other Stories…
Street Work, Straight Up
I walk the city and I take pictures. I don’t ask people to pose, I don’t wait for the perfect light. I work instinctively — spotting a gesture, a look, a detail that says something real. Everything is shot in black and white. It helps me focus on the story in the frame without distraction. It’s not about mystery. It’s about clarity.
From Portraits to Pavements
Before the streets, I worked on portraits — editorial commissions, private shoots, press features. I’ve always been drawn to people. That background gave me an eye for how someone holds themselves, what they’re not saying, and how stillness can speak louder than words. It’s a thread that runs through all my work, even now.
How the Camera Came Back
I’ve been taking photographs most of my life — but it wasn’t my focus until trigeminal neuralgia made nearly everything else impossible. It’s a rare nerve condition that causes sudden, intense facial pain, triggered by something as simple as talking or a breeze on the skin. After the diagnosis, photography moved from the sidelines to the centre. It gave me something to do, alone, in silence, without compromise. And because I’d done it for years, I didn’t need to start from scratch — I already had the instincts, the eye, and the tools.
Seeing to Remember
Later I was diagnosed with Aphantasia — specifically, the inability to form mental images. Where others might picture a face or a room in their mind, I see nothing at all. It made me realise that photography wasn’t just how I see the world — it’s how I remember it. Each image becomes a stored memory I couldn’t otherwise hold on to.
Volume, Voice, and the Streets
In under three years I’ve taken more than 60,000 images — walking miles through London, chasing something true. From this, a few key series have emerged: Never Never Streets, A Glass Apart, and a newer body of work previously titled Hat’s It! — now evolving into something deeper. That series, like the others, asks what we reveal in public — even in small, unguarded moments. The title is changing, but the intent remains: to show character without performance.
Recognition & What Comes Next
In 2024, I was selected for the Taylor Wessing Photo Portrait Prize. I’ve been commissioned by the Wellcome Trust, and worked with Karishma Patel on portraits following her resignation from the BBC over its Gaza coverage. These moments matter. But the heart of the work stays the same — to notice things honestly, to capture what’s true, and to give the image enough space to breathe.
And…
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