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I am a documentary photographer based in [city], working on long-form assignments for magazines, museums, and civic archives. Since 2019 I have photographed for [institution] and collaborated with [collaborator]. I came to photography from six years of field research, which is still how I work: read first, return often, publish slowly. Three directions hold most of my time — (1) labour and infrastructure, (2) the coastline and what it is losing, (3) family archives and the gaps in them. Outside of work I swim in cold water and repair other people's cameras badly.

Selected work

“She waited until the room forgot she was in it.”

We gave Sandy two days in the depot and she used most of the first one sitting on a crate, not photographing. The crews stopped performing for her somewhere around the second night, and that is when the work begins to look like the place actually looks: the fluorescent green of the loaders, the tea trolley at four in the morning, the way nobody speaks on the last run.

She sent contact sheets before she sent selects, asked which frames we would object to, and cut two of them without argument. I have commissioned photographers for eleven years. That has happened twice.

— [Name], picture editor, [publication]

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How I work

Everyone photographed is told what the pictures are for, and can withdraw any frame of themselves within thirty days of publication.

Contact sheets go to the commissioner before selects; captions are checked with the people named in them.

I reply to commission enquiries within 48 hours, including a yes or no on availability and a rate.