I’M ALWAYS DRAWN TO THE THING BENEATH THE THING.
I’M ALWAYS DRAWN TO THE THING BENEATH THE THING.
I SUSPECT EVERY PERSON HAS A STORY THEY HAVEN’T TOLD YET.
I SUSPECT EVERY PERSON HAS A STORY THEY HAVEN’ T TOLD YET.
I SUSPECT EVERY PERSON HAS A STORY THEY HAVEN’T TOLD YET.
People occasionally ask if I’m a full-time photographer.
The answer is both simpler and more complicated than that.
I’m also a social worker.
In fact, I still work as one.
Which means that alongside photography, I spend a lot of time listening to people, understanding what matters to them, and paying attention to the things that often go unsaid.
It turns out those skills transfer surprisingly well.
Photography and social work might seem like an unusual combination, but both involve curiosity, trust, and trying to understand something beneath the surface.
I’ve never been particularly interested in telling people how to stand.
I’m much more interested in what makes them recognisably themselves.
The way they talk about their work.
The stories they tell without realising they’re telling them.
The objects they keep close.
The things they care about.
I completed a Master’s degree in Photojournalism and Documentary Photography, but most of what shapes my approach comes from years of working with people.
And perhaps from being relentlessly curious.
That curiosity has a habit of turning into all sorts of things.
Sometimes it’s a branding shoot.
Sometimes it’s a workshop for creatives.
Sometimes it’s a long conversation about belonging, identity, or why we keep certain objects and throw others away.
I like working with people who trust the process.
People who are interested in ideas, stories, and finding a way to express who they are.
The camera is often part of that.
But it’s rarely the whole story.
People occasionally ask if I’m a full-time photographer.
The answer is both simpler and more complicated than that.
I’m also a social worker.
In fact, I still work as one.
Which means that alongside photography, I spend a lot of time listening to people, understanding what matters to them, and paying attention to the things that often go unsaid.
It turns out those skills transfer surprisingly well.
Photography and social work might seem like an unusual combination, but both involve curiosity, trust, and trying to understand something beneath the surface.
I’ve never been particularly interested in telling people how to stand.
I’m much more interested in what makes them recognisably themselves.
The way they talk about their work.
The stories they tell without realising they’re telling them.
The objects they keep close.
The things they care about.
I completed a Master’s degree in Photojournalism and Documentary Photography, but most of what shapes my approach comes from years of working with people.
And perhaps from being relentlessly curious.
That curiosity has a habit of turning into all sorts of things.
Sometimes it’s a branding shoot.
Sometimes it’s a workshop for creatives.
Sometimes it’s a long conversation about belonging, identity, or why we keep certain objects and throw others away.
I like working with people who trust the process.
People who are interested in ideas, stories, and finding a way to express who they are.
The camera is often part of that.
But it’s rarely the whole story.
People occasionally ask if I’m a full-time photographer.
The answer is both simpler and more complicated than that.
I’m also a social worker.
In fact, I still work as one.
Which means that alongside photography, I spend a lot of time listening to people, understanding what matters to them, and paying attention to the things that often go unsaid.
It turns out those skills transfer surprisingly well.
Photography and social work might seem like an unusual combination, but both involve curiosity, trust, and trying to understand something beneath the surface.
I’ve never been particularly interested in telling people how to stand.
I’m much more interested in what makes them recognisably themselves.
The way they talk about their work.
The stories they tell without realising they’re telling them.
The objects they keep close.
The things they care about.
I completed a Master’s degree in Photojournalism and Documentary Photography, but most of what shapes my approach comes from years of working with people.
And perhaps from being relentlessly curious.
That curiosity has a habit of turning into all sorts of things.
Sometimes it’s a branding shoot.
Sometimes it’s a workshop for creatives.
Sometimes it’s a long conversation about belonging, identity, or why we keep certain objects and throw others away.
I like working with people who trust the process.
People who are interested in ideas, stories, and finding a way to express who they are.
The camera is often part of that.
But it’s rarely the whole story.
THERE’S A REASON I WORK THE WAY I DO.
THERE’S A REASON I WORK THE WAY I DO.
THERE’S A REASON I WORK THE WAY I DO.
The Official Bit
If you’re the sort of person who likes qualifications, here’s the short version:
• MA in Photojournalism and Documentary Photography (Merit), University of the Arts London (2026)
• Postgraduate Certificate in Therapeutic Photography (Distinction), Robert Gordon University
• Postgraduate Diploma in Applied Positive Psychology and Coaching Psychology (Distinction), University of East London
• Postgraduate Certificate in Autism, University of Strathclyde
• Postgraduate Diploma in Social Work, Robert Gordon University
• HNC Photography, University of the Highlands and Islands
The unofficial qualifications include:
• Asking too many questions
• Being curious about people
• Noticing things that don’t always make it into conversations
• A long-standing fascination with belonging, identity, stories, and the strange objects people keep on shelves
The certificates are useful.
The curiosity has probably been more influential.
The Official Bit
If you’re the sort of person who likes qualifications, here’s the short version:
• MA in Photojournalism and Documentary Photography (Merit), University of the Arts London (2026)
• Postgraduate Certificate in Therapeutic Photography (Distinction), Robert Gordon University
• Postgraduate Diploma in Applied Positive Psychology and Coaching Psychology (Distinction), University of East London
• Postgraduate Certificate in Autism, University of Strathclyde
• Postgraduate Diploma in Social Work, Robert Gordon University
• HNC Photography, University of the Highlands and Islands
The unofficial qualifications include:
• Asking too many questions
• Being curious about people
• Noticing things that don’t always make it into conversations
• A long-standing fascination with belonging, identity, stories, and the strange objects people keep on shelves
The certificates are useful.
The curiosity has probably been more influential.
The Official Bit
If you’re the sort of person who likes qualifications, here’s the short version:
• MA in Photojournalism and Documentary Photography (Merit), University of the Arts London (2026)
• Postgraduate Certificate in Therapeutic Photography (Distinction), Robert Gordon University
• Postgraduate Diploma in Applied Positive Psychology and Coaching Psychology (Distinction), University of East London
• Postgraduate Certificate in Autism, University of Strathclyde
• Postgraduate Diploma in Social Work, Robert Gordon University
• HNC Photography, University of the Highlands and Islands
The unofficial qualifications include:
• Asking too many questions
• Being curious about people
• Noticing things that don’t always make it into conversations
• A long-standing fascination with belonging, identity, stories, and the strange objects people keep on shelves
The certificates are useful.
The curiosity has probably been more influential.
Back to the hall
Back to the hall
