Process

The journey to making a print begins at the moment of photographing. I have used a variety of cameras over the years but I settled on Leica rangefinders and a film Hasselblad V as tools that blended seamlessly with my eye. The diminutive size and mechanical and optical quality of Leica M cameras make them a perfect companion for spontaneous subjects. Devoid of any mirror, the view through the rangefinder allows for uninterrupted composition and depth of clarity near to far, while Leica lenses are well known for their unique and subtle rendering. My Hasselblad makes the perfect compliment to this, with its larger, square format lending itself to more pre-meditated and singular composition. I have used both these systems extensively since the 1990s. 

Since the arrival of digital photography, I have adopted the use of this medium alongside film. Film remains a significant part of my process however, lending unique personality by virtue of its physical texture, tonality and subtle, organic charm. Digital on the other hand has opened up a new realm of flexibility and enhanced technical capability. To transfer my film to the digital world and integrate it into a precise, modern workflow, I use a Hasselblad virtual drum scanner, renowned in producing exceptionally high quality reproductions. 

For print making, my analogue darkroom is long gone in favour of the high end results and artistic control offered by modern pigment inkjet printing. Printing this way I find requires a different, equal skill set to that of the traditional darkroom, but allows finer nuance and greater accuracy than can be achieved under an analogue enlarger. This technology enables me to make all of my prints myself, avoiding potential dilution of my vision by sending out to third party labs, while following my own artisanal approach to crafting the print.