I photograph days as they actually run — the long table, the borrowed coat, the ten minutes when the room finally goes quiet. Booked by the date, one commission at a time.
Most of a day is spent close by and out of the way. I carry a digital body for the fast parts and a film body for the slow ones, and I'd rather wait four minutes for the right light than ask fourteen people to stand somewhere they don't want to stand.
If you want directed portraits, we'll make time for them — twenty unhurried minutes, usually at the end of the afternoon. Everything else is watched rather than arranged.
Six frames from the last two seasons, chosen because they show how a day is covered rather than how it photographs at its best moment.
Digital · May
Film · September
Digital · July
Digital · June
Film · April
Digital · August
Three ways of working. Rates travel with the availability reply, because the hours and the distance change what a day costs.
From the last hour of getting ready through to the floor filling up. The most common booking, and the one that needs the earliest date.
A walk rather than a sitting. Good for an engagement, an anniversary, or simply because no one has taken a decent photograph of you in years.
Documentary coverage of a studio, kitchen, workshop or small team — made for people who need honest pictures of what they actually do.
The form below is enough. I reply within two working days with availability and the rate for the hours you've described.
A half-hour call, in person where that's easy. We go through the running order, the light, and the handful of photographs that matter most to you.
A signed agreement and a holding payment take the date off the calendar. Nothing else is due until the week before.
A preview set within days, then the full edit. Your gallery stays online for a year and downloads in one go.
Something you already own and can walk a mile in. Deep or muted colours hold up better than bright white under strong sun, and texture — linen, wool, corduroy — reads far better on film than a flat print. Avoid anything you'll spend the session adjusting.
We photograph anyway. Overcast light is kind and rain gives a day its character, so I carry clear umbrellas and know the covered spots at most venues I work in. We agree an indoor alternative for the portrait window at the planning call, so nothing is decided in a panic on the morning.
Between 500 and 700 for a full day, 45 to 60 for a portrait session. Every frame is individually edited; near-duplicates, blinks and technical misses are removed before you see the gallery, because a hundred versions of the same moment helps no one choose.
The coast and the valley towns are included. Further afield I quote travel with the date rather than hiding it later, and for anything needing an overnight stay I'll say so plainly in the first reply.
A preview set of around thirty frames lands within four days — enough to share while the week still feels close. The full gallery follows in about six weeks for a wedding, two for portraits, three for a half-day at work.
Not really, and it's the most common thing people tell me. The documentary half of the day asks nothing of you at all. For the directed twenty minutes I give simple, physical instructions — walk there, stand in that doorway, talk to each other — rather than asking anyone to pose or hold a smile.
Tell me the date and roughly what the day looks like. You'll get a straight answer within two working days: whether it's free, what it costs, and what I'd suggest for the light.