South Laines
My street photography is rooted in observing people moving through the everyday environments they inhabit. I’m interested in the meeting points between culture, architecture, and the quiet rhythms of daily life, which is why my street images almost always include people within the frame.
In this instance, I noticed a strong visual possibility in the row of shops and the way the street space worked compositionally. Rather than waiting for chance alone, I briefly interacted with two passers-by and asked if they would mind walking past again. We repeated the moment a few times until the composition felt right, balancing spontaneity with a light touch of direction.
Abundance
This photograph was taken in a Turkish food market. I was immediately drawn to the abundance of colourful vegetables piled high across the stall, creating a rich and textured display.
The market seller standing among them gave the scene a timeless quality. The composition, colours, and simple exchange of daily trade felt as though it could have been captured centuries ago. Moments like this interest me in street photography—when everyday life briefly forms a tableau that connects the present with something much older and enduring.
Dine with Me
This photograph was taken at night, handheld, and later rendered in black and white. I was standing outside a pub, looking through wooden window frames that gave the scene a distinctly Victorian atmosphere.
Inside, a woman sat quietly at a table lit by a small candle. The soft light created a gentle contrast against the darker interior, giving the moment a sense of intimacy and stillness. Images like this interest me because they feel almost like glimpses into another time—ordinary moments framed by light, architecture, and chance.
staion aeroport
Taken in Tunisia, this is a rare example of one of my street photographs without people. What drew me in was the strong, simple graphic quality of the scene.
The small rural train station was built from white concrete forms, set against a bright blue sky, with bold blue Arabic script painted across the walls. The clean proportions and limited palette created a striking composition, almost like a piece of graphic design. Moments like this remind me how architecture, colour, and light alone can carry the visual rhythm of a place.
Light at the end of Tunnel
This photograph was taken in the old town of a Tunisian city. I was standing in the shadow of a narrow tunnel, looking out toward a worn cobbled street framed by a stone archway.
Beyond the darkness of the passage, bright sunlight illuminated a mother dressed in a black burka walking toward the camera with her young son beside her. The contrast between the dark tunnel and the bright street created a natural frame, drawing the eye toward the quiet moment of connection between them as they moved through the light.
Chasing the Light
This photograph was taken on a street in the North Laine area of Brighton as the sun was setting. The light was fading quickly, and the street had begun to fall into shadow.
A narrow shard of the last golden light of the day caught two passers-by as they walked through the scene. The warm light briefly illuminated the woman in the foreground, creating a strong contrast against the darkening shopfronts behind her. Moments like this interest me in street photography—when light, timing, and movement align for only a few seconds before disappearing again.
The MET
This photograph was taken at night after rain, when the pavement still held the reflective sheen of the storm. The image is in black and white, allowing the light and texture of the wet street to become the focus.
The headlights of an approaching van catch the surface of the road, making it glisten and shimmer. Above, a decorative ring of light on the building of The MET echoes the glow of the van’s lamps below. That small visual rhyme between the lights creates a quiet balance within the scene, where reflections, architecture, and movement briefly align.
Women against the far right
This documentary photograph was taken during one of the largest anti-fascist and anti-racist demonstrations in London, where vast numbers filled the streets in a collective show of resistance. The image captures a dense, shifting crowd—banners rising above it, including one that reads Women Against Fascism.
Moving slowly through the crowd, I adjusted to its scale. It was my first time photographing a protest, and I found myself drawn less to the spectacle and more to the individuals—the small moments within something much larger.
In the foreground, a small group of women stand close together. One looks directly into the camera, smiling—a brief, unguarded moment held within the movement around her. I’m interested in that point of contact, where a person becomes visible within the crowd, and something of their story begins to surface.
What do you want from me?
My young daughter is sitting in my stationary car, pretending to drive. As I raised the camera to capture the moment, she turned her head toward me with a flash of irritation, breaking the illusion of her game.
The image holds that small moment of character—her strong energy and independence already beginning to show. Her red hat stands out sharply against the muted blues and greys of the car’s interior, drawing attention to her presence within the frame and adding a playful tension to the scene.