I work traditionally using film and fully embrace analogue processes. I handle all aspects of darkroom practice — from developing negatives to making prints — and prefer the slow, methodical workflow that lets me control every step with care and intention. My practice includes both standard silver-based techniques and older photographic processes such as cyanotypes and salt printing, each valued for their tactile qualities, subtle variations, and often unpredictable, poetic results.

Every image is made with attention to materiality: careful exposure, precise chemical development, and thoughtful hand-finishing ensure a distinctive, archival print that visibly bears the marks of its making. This deliberate approach prioritises craft and presence, producing photographs that carry the depth, texture and character only analogue methods can provide.

My preferred large-format cameras are a Toyo Field 45A and a Wistra Rittrek view camera for 5x4 and 8x10 work; for smaller formats I use a Mamiya 7, Pentax 6x7 and a range of Nikon bodies including FTn, FM and F80.

I typically shoot Ilford film and print on Ilford fibre-based papers, favouring classic and warm tone presentations from 8x10 up to 20x24 inches. I also employ digital contact film when necessary to bridge analogue precision with contemporary workflow, using it sparingly to maintain the integrity of the handmade process.