A frame that stays on the wall.
I photograph people in effort and in stillness. The strongest frames I print with giclée on archival papers — limited, numbered editions, signed, with a certificate. Every work here is for sale.
From a frame to a work on the wall
It always starts with a photograph — with something I actually saw. Rather than generating fantasies with AI, I work from what I’m able to experience. What happens next depends on the frame.
What these works are
The starting point is a frame, but it rarely ends there. Sometimes all it takes is waiting for the moment and preparing the file — tonality, contrast, geometry. Sometimes I push hard, until the light says what I remember from that moment. And sometimes one frame isn’t enough: I lay photographs over one another and build the picture in layers, until what comes out is closer to painting than to photography.
There’s no single recipe — the work is done when the picture is what it was meant to be. One thing never changes: the material always comes from my own frames. It’s still what I saw, only said the way I remember it.
I work on a calibrated monitor and soft-proof against the ICC profile of the exact paper. The print file is a 16-bit TIFF, Adobe RGB, 300 ppi at final size — so what leaves my desk is what lands on the paper.
Pigment inks, not dyes — depth of black and tonal range a mass print never reaches. Each piece is printed to order in a giclée studio, with colour kept consistent across every copy of the edition.
Cotton papers made to last generations, not seasons. I match the paper to the work: baryta for deep blacks and wide tonality, matte and velvet for portraits and softer pieces, textured stock when the image asks for a painterly feel.
The run is fixed before the first copy is sold and never increased — that’s the whole point. Each format is a separate edition: the larger the piece, the smaller the run.
Signed in pencil on the margin, with the copy number — 3/25 means the third of twenty-five that will ever exist. The margin is part of the work, which is why the sheet is larger than the image.
Every piece ships with a certificate: author, title, giclée technique, paper, number and size of the run, date and signature. It’s what makes the edition verifiable — by you and by whoever owns it after you.
Artworks
Click a work to see the story behind it, formats, framing, edition and price.
Collector list
I release new series in stages. Sign up to be the first to hear about edition launches and get priority choice.
I also shoot sport, portrait and events on commission. The full photographic portfolio lives here.
Photography portfolio →