About

I was scouted in the queue for a Cartier-Bresson retrospective, which my agent still calls the most on-brand discovery in the agency's history. Ten years on, that's broadly the work I'm known for: quiet, deliberate images with more shadow than light, made slowly, in rooms where you can hear the shutter.

Photographers book me for restraint. My best work happens in the space between poses - the settle of a shoulder, the half-second before an expression resolves. I've built whole editorials around a single black dress and a hard window light, and I've learned that the less a frame contains, the more precise every element has to be. That precision is the job.

Away from set I read more than is sociable, attend the ballet alone on purpose, and keep a notebook of light I've seen and want to find again - a stairwell in Lisbon, late trains, my kitchen at seven in January. Elegance, to me, isn't ornament. It's intention, visible.