Work — Personal Projects
Deadweight
Extended documentation of fishing crews working the North Sea out of Peterhead and Fraserburgh. The project follows the same boats and men across multiple seasons, capturing the physical weight of the work—the repetition of hauling, the cold, the waiting—and the industry's uncertain future as quota changes and economics reshape the fleet.
Shot entirely at sea and on the quayside. No staged portraits or posed moments; the work is reportage made over weeks spent living the rhythm of the boats. The photographs are interested in the choreography of labour, the textures of rope and steel and water, and the faces of people for whom this is simply work, not a subject to perform.
Cold Iron
Documentation of Hartlepool's heavy industry—steelworks and shipbreaking yards where steel is made and ships are dismantled. The project is built on extended time in the yards, following the choreography of industrial labour: the cutting and burning, the lifting of vast sections, the crews moving through spaces of extraordinary scale and noise.
This is work made as reportage during a period of industrial decline, when much of what is documented here has already closed or will close soon. The photographs are unposed, made without intervention or staging, and they are interested in the texture of labour, the precision required in dangerous work, and the faces of men and women for whom this is their trade.
Slack Water
Documentation of dock labour at Immingham and Grimsby—the stevedores and dockworkers who handle cargo according to the rhythm of tides and shift patterns. The work is interested in the orchestration required to move goods through a port, the precision and speed demanded, and the culture of the docks themselves—a working environment with its own codes and hierarchies.
Made as unposed reportage over an extended period, following the same teams across shifts and seasons. The photographs capture cargo being handled, containers stacked, holds opened and emptied, and the men and women who do this work moving through the noise and scale of a functioning port.
Editorial and portraits
Selection of commissioned editorial and portrait assignments made alongside the personal projects.
Commissions have included editorial work for magazines and organisations connected to coastal and industrial subjects. The approach remains reportage rather than posed portraiture—time spent with subjects, unposed moments, and an interest in documenting work and people as they are rather than as they might be arranged for a camera.
These assignments have ranged across maritime heritage, industrial processes, and occupational portraiture, all made in the same black-and-white documentary style as the personal long-form projects.
On method
The work is built on reportage rather than staged setups. Real time spent with subjects—weeks aboard boats, months in yards, shifts on the docks—produces photographs that carry the weight of actual labour rather than the appearance of it. Black-and-white film stocks and long-form sequencing are chosen deliberately: the work is interested in texture, sequence, and the accumulation of detail over single, dramatic moments. The photographs are meant to be read as documents of how work is actually done, by people for whom it is simply what they do.