How I got here
I picked up a camera properly in my mid-twenties, shooting friends’ bands in venues around Dalston because nobody else would do it for free. The photos were rubbish. Underexposed, badly cropped, half of them shot on a kit lens I didn’t understand yet. I kept at it because freezing a moment nobody else caught felt worth the bad photos.
Paid work started with headshots for actors who couldn’t afford a studio day, then a wedding for a cousin’s friend who took a chance on someone with no portfolio. I turned up two hours early, over-shot everything, and spent a week editing what should have taken two days. Ten years on I still arrive early. I’ve just got faster at the edit.
What changed wasn’t the camera. It was learning to read a room before I read the light, knowing when a bride wants five more minutes alone with her dad, or when a CEO hates having their photo taken and needs three minutes of small talk before the shutter goes.
How I work
Same method whether it’s a wedding in Greenwich or a product shoot in the studio: arrive early, shoot far more than I’ll deliver, and edit by hand rather than dumping a preset over everything. A preset makes a restaurant in Peckham look like one in Copenhagen. I’d rather the photos looked like the place they were taken.
Most photographers will tell you to book as early as possible. I’ll say the opposite for anything that isn’t a wedding: book close to the date once you know exactly what you need, because briefs change and a shoot locked in three months out often gets reshot anyway.
I deliver fast because clients need the work, not because speed is a selling point on its own. See recent work across London for most of what I shoot, and for the longer version of how any of this works, there are guides I’ve written on booking photography covering timing, pricing and what to ask before you book.
Experience and credentials
Over a decade shooting professionally, more than 500 shoots across every London borough: weddings, corporate events, restaurants, property, products and video work. I’m CAA-authorised for commercial drone work and carry public liability cover, which most venues and event organisers ask to see before they let anyone near a ceremony or a rooftop.
- 10+ years professional experience
- 500+ shoots across London
- CAA Operational Authorisation for commercial drone flights
- £5m public liability insurance
- Employers’ liability insurance for second-shooter jobs
- Enhanced DBS certificate, renewed for school and safeguarding-sensitive work
Kit-wise: two full-frame bodies, a 24-70 and a 70-200 for most jobs, a fast 35mm for anything indoors and low-lit, flash gear for venues whose own lighting won’t cut it, and a drone for the property and hospitality work that needs one. None of it matters as much as knowing which lens to reach for before the moment’s gone.
Who I work with
Couples getting married, mostly in London and the home counties. Restaurants that need a menu reshot before the reviews arrive. Estate agents who need a flat photographed before a listing goes live at 9am. Founders who need headshots that don’t look like they were taken in a stairwell. Schools, marketing teams, the odd podcast.
The weddings and restaurant work are what I enjoy most; there’s a story in both, and the client usually cares about the same details I do. Corporate headshots pay the bills between the more interesting jobs, and I won’t pretend every session is a passion project. Some are just good, straightforward work done well.
Have a look at the work I take on if you want the full range rather than the highlights.
The studio
The studio’s in Shoreditch, EC2A, a short walk from Old Street and easy enough to reach on the Northern or Overground line. It’s where headshots, product shoots and small branding sessions happen, with seamless paper backdrops in white and grey and continuous lighting left set up permanently so there’s no setup time eating into the session.
Being based in East London means most jobs in Hackney, Islington and the City start within twenty minutes of picking up the kit. Anything further out, Richmond, Bromley, the far reaches of the Underground map, just gets factored into the day’s schedule rather than the price.
What I won’t do
I turn down unpaid “exposure” work. Exposure doesn’t cover a memory card, an insurance premium or a Tuesday spent editing. I also turn down jobs where the brief hasn’t been thought through: “just get some nice shots” isn’t a brief, and a rushed one produces photos nobody’s happy with.
- Unpaid work offered in exchange for “exposure”
- Jobs with no clear brief or shot list for anything complex
- Bookings where the budget is too small for the coverage asked for
If someone wants six hours of wedding coverage for the price of two, I’ll say so rather than take the money and deliver something thin. Check what it costs before you book, and if the number doesn’t work for the coverage you want, we can usually adjust the brief instead.
Send a date, a venue and a rough idea of what you need, and tell me about the job so I can say honestly whether I’m free and whether it’s a good fit. I reply within one working day with a straight answer, not a sales script.