Timothy Soar

Architecture, culture, adventure and maturity. A new building is completing on one of London’s most prominent sites and judgement, inevitably,

I keep returning to woodland because it contains an extraordinary idea of order. Nothing is fixed. Trees fall, light enters,

Photographing the landscape at Chelsea Barracks means looking for an architecture that does not end at the building line. The

I have been thinking about gold less as a symbol of value than as a material with a complicated history.

There is a tendency to describe the destruction of British industry as though it were a natural event. Globalisation happened.

One of the more interesting things about photographing new architecture is watching the interval between arrival and understanding. A building may

A photographic career of any duration is rarely the consequence of mastering a fixed body of knowledge. Cameras change, commissions

There is an unfamiliar quiet over this part of East Anglia at the moment. Those of us who live within

There is something particular about working in London for an architect when their practice has been shaped by more than

Photographing 76 Southbank for Allford Hall Monaghan Morris Architectural photography is, for me, both pleasure and privilege: the chance to

The National Collections Centre at Wroughton is difficult to understand through ordinary architectural measures. At 90 metres wide and 300

It was a particular pleasure to photograph 1 Broadgate, another award-winning building by AHMM and a project that rewards careful

The Regenerative Architecture Index began with a necessary change of emphasis. Sustainability had taught architecture to measure damage, reduce consumption

Architecture Today‘s Reinventing Practice portrait series will be on full display – in print – at the Building Centre throughout

This project was conceived by Savills Workplace & Design for an international organisation operating within a complex and highly regulated

Episode Description As George Berkeley almost almost said, if architecture is built in a city but no one takes its

2026 Assembly, Bristol AHMM2026 Arthur Stanley House AHMM2026 Noele Gordon House Mæ2026 Norton Folgate AHMM, Morris+Company, Stanton Williams, and DSDHA2026 The Brentford Project

Photographing 55 Victoria Street for Lee Marley during the pandemic remains one of the more unusual architectural commissions I have

Photographing The Lucan at completion offers a particular kind of privilege. It is the moment before occupation, before routine, before

Today, 4 July, marks the anniversary of Bryan Avery’s death. I think of him with enormous affection. Bryan was a

When I began making the portraits for the Regenerative Architecture Index, produced in partnership with UK Architects Declare, I found

Photographing Holloway Park for the Lee Marley Group At the former Holloway Prison site, a closed institution is being remade

We are out early enough that the woods have not yet given themselves over to heat. The air still has

No.1 Berkeley Street begins with the question of what a city already holds. In Mayfair, opposite The Ritz and within

In Practice began with a simple irritation. Architectural photography was very good at buildings before occupation, but often rather poor at

RAI members explored new approaches to photography at a workshop held by Timothy Soar at dMFK’s Fitzrovia studio. Ampetheatre Alasdair

There are good reasons to enter the Architecture Today Test of Time Awards, and the possibility of winning is only one

For more than forty-five years I have worked as a photographer in Britain. I have walked its towns and cities,

We went along paths I have known since childhood. Tracks once wide enough for a forestry gang, for two Suffolks

The project unfolded over two very different days. The first day began under cloud, the low, even, democratic greyness that

Architectural photography has always been a commercial practice with an uneasy conscience. It is commissioned to clarify, to persuade, to

A building, once pared back for refurbishment, becomes briefly more vulnerable than at any other moment in its life. For

I have worked with KKS, now Savills Workplace & Design, for long enough now that the work and the people

Fonthill should not be understood simply as an eccentric country house. It is more useful, and more honest, to read

Hegel’s description of the morning newspaper as “the realist’s morning prayer” has always fascinated me, I return to it often.

The ‘After’ I have known Cambridge Arts Theatre for most of my life. Some of my earliest memories of Cambridge

The ‘before’ and the ‘during’. There are buildings that belong to a city not simply because they occupy a site,

There is a particular difficulty in photographing architecture that occupies a preexisting masterplan. The ghosts of earlier intentions linger in

I have had a long association with this part of London. To photograph 6 More London for Barr Gazetas was to return to a

I have been looking again at a group of 8×10 contact sheets made over the last few years at Stonehenge,

The invitation was to look again. Not to document, but to attend. To make photographs that could sit within the

There is a particular kind of project that reminds you what architecture is actually capable of when it leans into

Architecture can do more than provide shelter. It can create the conditions in which a life steadies, learns, and grows.

Over forty-five years working in architectural photography, my practice has developed through direct relationships with architects and clients, mostly at

Highpoint is one of those buildings that appears, at first encounter, almost too composed for the century that produced it.

Photographing Secure Sanand Factory, Gujarat, India, for Architecture Today, Buildings That Stand the Test of Time Award. The road to

Photographing 1 Keskidee Square for Allford Hall Monaghan Morris There is a particular moment, walking north of King’s Cross, when the

There is a particular clarity to Geneva that resists indulgence. It is not London. It does not forgive improvisation, happenstance, luck in

The house establishes itself carefully, a constrained entrance, a narrow passageway and then a series of low, angular pavilions around

It is increasingly common to hear analogue practice discussed in the language of fable. The myth of film practice, the

I have worked with Denys Lasdun, I liked him, generous, thoughtful, precise, but I had not photographed the Institute of Education

Awards in architecture are often mischaracterised as moments of exposure or professional affirmation. In reality, their value lies elsewhere. Properly

To speak of the Architecture Today Test of Time Awards is to resist the easy assumption that time clarifies. It rarely

There’s a point, somewhere in the middle of the central spine at 40 Leadenhall, where you stop thinking about the

There are certain places you don’t photograph so much as enter into a contract with. David Lea’s home at Ogoronwy is

Nine Elms can be read, usefully, through an older idea: the “city upon a hill.” Not as theology or political

What makes it exceptional is the fact that its engineering logic is inseparable from its public experience. The bridge is

There is something quietly disarming about encountering a building several years after its completion, particularly when one comes to it

There is a moment in any abandoned building when the eye adjusts, not to darkness, but to time. A predevelopment

Certain parts of London carry their history with a particular clarity. Familiar patterns, grain, texture. Memory and purpose intertwined. Norton

In Fitzrovia, within the Charlotte Street Conservation Area, Arthur Stanley House offers something increasingly rare in contemporary development: a serious argument for reuse.

The former Hartley Centre site in East Ham was not an empty canvas. It was a civic remnant, layered with

Congratulations Lee Marley Group, Ballymore, Allford Hall Monaghan Morris, Maccreanor Lavington, Grant Associates, The Brentford Project shortlisted in RIBA London

When I first walked London Square Bermondsey, what struck me was not the new architecture but the composure of the

Congratulations Matthew Seaborn, Donald Insall Associates and The Whitworth Partnership, Private Chapel, Suffolk – Shortlisted for the Royal Institute of British

Congratulations Allford Hall Monaghan Morris The shortlisting of The Sheds for the 2026 RIBA South West Awards feels earned rather

Very proud of this one, we stuck to our principles, photograph great architecture – come rain or shine. I think

Grade II listed, List Entry Number:1492622 Photographed for the Southbank Centre March 2009

I have worked in Morocco, Egypt, Saudi Arabia, Kuwait, Dubai, I’ve seen enough to understand that, at moments like this,

What Hines set in motion in 2020 was not simply a refurbishment but a re-evaluation of an asset within a

What struck me first was not spectacle but composure. Victoria is not an easy part of London. It has always

There is a point at which a profession has to stop apologising for itself. Making excuses, accepting poor behaviour. Photography

The Lens That Destroys Architecture, or Ultra Wide and the death of perspective There is a peculiar seduction in the

I began in a darkroom that smelt of hypo. Safelights. Trays of chemistry. Time measured in imaginary elephants. Images rising

I was photographing 60 Threadneedle Street for Eric Parry when the Old Stock Exchange Tower dropped a ton of shattered glass on me. There

I’ve spent most of my life paying attention. To light. To people. To the way systems behave when they’re stressed.

Underneath Susan Sontag’s unease with the moving image there is something quieter than critique and more intimate than theory. It

I did not arrive at Landfall as a documentarian. I arrived as someone being invited into a long conversation, between

Tucked away in a quiet Victorian mews near Bethnal Green, Crown Works Pottery is a rare thing: a working ceramics studio

Out beyond Walney Island the wind farm doesn’t read as a finished program. It reads as a draft. From a

There’s a moment when you stand within the bones of an old building and feel the past beneath the skin

It has been my task to photograph the winners of The Test of Time Awards each year for a special

I came to photography first through my father. His love of the medium shaped the atmosphere of my childhood, and

I learned photography when it was a mechanical act. Light was not measured for you; it was judged, learned, experienced.

I think of Soho Place as something assembled in the dark, by touch, using spider sense. Not simply built, but woven into

Before language was fixed, before cities learned to speak in grids and codes, stone was already shaping our world. Our

Photographing The Pavilion for RDA Architects Ltd This project never really belonged to one person. That feels important to say

The Clock Tower was never simply a building. Built on the remnants of the Backbarrow forge masters’ first furnaces, it

After my father died, I walked, day after day, the hillside and valley surrounding my gallery at the Clocktower in Low

Every photograph contains two people, the viewer, and the photographer. Every photograph a self-portrait in disguise. The image pretends to

The first commission is rarely small, no matter its scale. It carries the density of a beginning. A condensation of

I photographed The Spirit of Utopia not as an event, but as a condition. As something that had already lived a life.

There is an uncomfortable truth at the root of Britain’s modern forests: they were planted not out of sentiment, not

The photographs from that period are precise, sometimes austere. They seek geometry, alignment, the quiet tension between structure and surface.

I have spent a lifetime moving. Motorways at dawn, dark ribbons of tarmac. Airports and aircraft, global connectors where the

At close quarters, everything becomes legible. A leaf is no longer a leaf but a map. Edges become definition for

The client, as ever, matters. Your client frames the work, frames intention, frames the narrative. When you photograph for the

Twitter taught me distrust early on: noise and outrage masquerading as thought, certainty without responsibility, unpleasant behaviour stripped of consequence.

Photographing the Winners of the 2024 Architecture Today Awards, in 2025 There is a moment, quiet, often uncomfortable, when architecture

There is a temptation, when writing about architecture in a time of crisis, to reach for urgency first. To shout.

Old friends, new friends, and the quiet pleasure of discovering that some conversations simply pick up where they left off,

To commission a work like Folded Light is to make a declaration about values. It says that a commercial building can offer more.

I’ve learnt, over time, to recognise certain phone calls by the feeling they create before a word is spoken. A

When I first walked into Fortnum & Mason, what struck me wasn’t the scale of the intervention, but the simple

Architectural photography, at its most disciplined and most humane, has always stood in that narrow band of light between authorship

There are buildings that reveal themselves reluctantly, and others that open slowly, like a conversation that deepens over hours. Photographing

Frank Gehry’s Experience Music Project in Seattle still feels like a declaration of freedom, an unapologetic act of form-making that

There are buildings that stand in the world, and there are buildings that change the way the world stands. Third

We are, each of us, a threefold organism: a spiritual creature, an intellect, and a physical presence. We think in

On the edge of the flood plain, where the river winds slowly into the landscape, sits a building both unassuming

Large format photography teaches you to see before you even touch the camera. Long before you unfurl the tripod, the

Light is the first narration of a building. It arrives before program, before furniture, before policy. It is the slow,

61 Oxford Street is the sort of building that asks you to pause on a street where pauses are rare.

Architecture is experienced at human scale, through the physiology of our own eyes, the cadence of our own pace. In

Truth is not a mood, not a gesture, not a panel-show performance. It is not the product of box-ticking, nor

There is something profoundly moving about continuity, not as nostalgia, but as an unbroken conversation between generations and the land

There are moments in architectural culture that feel less like a trophy being lifted and more like a marker set

There are some commissions that come together with perfect precision, where light, logistics, and architecture align in effortless harmony. This

My grandfather, Harry, threw his Great War medals into the Manchester Ship Canal at the outbreak of the Second World

What Orms and GPE have achieved at One Newman Street is a kind of urban graciousness that helps define Oxford

As a photographer, I am drawn to places that reveal the intelligence of their making through how people move, gather,

When the 40 Under 40 exhibition appeared in 2005, it was a defiant act of optimism, a profession in crisis reminding itself

Forty Hopes, Forty Futures When Isabel Allen rang to ask if I’d photograph the AJ 40 Under 40, I was somewhat

Not the grand suffering of tragedy or heartbreak, the operatic kind, but the quiet, unphotogenic kind: the long hours spent

There are few experiences as satisfying as being on the water, blades resting on the surface, early light illuminating meadows,

The Temple Quarter Enterprise Campus Research Hub in Bristol marks the first realised fragment of a vast urban promise: the

I first became attached to the Norton Folgate project in 2014, when the site was still a tangle of boarded

SW10, that discreet cluster of stucco façades, quiet mews, and guarded courtyards stretching between the Thames and the Fulham Road,

To photograph the work of Martin Williams and Sarah Griffiths on the North Norfolk Coast is to enter a world where imagination and craft

There is a distinct quietness to buildings that are born out of careful, patient orchestration, an economy of ambition that

There is something profoundly moving in knowing that T. E. Lawrence, “Lawrence of Arabia,” soldier, scholar, and reluctant hero, once

Over the past few years, I’ve had the privilege of photographing and speaking with many of the most thoughtful practitioners

The Twentieth Century Society’s Coming of Age campaign. When I first photographed Ted Cullinan’s library at St John’s College, I felt a

Liverpool’s name had become a shorthand for crisis, unemployment, unrest, a skyline of cranes without ships. To be sent there

At 1,489 feet above sea level, Kirkstone is the highest point one can drive to in the Lake District, a

This photograph was made at Brathay, in the Lake District. I had set up my 10×8 camera, an American folding

In the few short years since the launch of the Regenerative Architecture Index (RAI), I’ve witnessed something rare, something worth

From the moment Allford Hall Monaghan Morris (AHMM) approached the site at 240 Blackfriars, the brief was less a set

To photograph the fishing villages of Scotland’s northeast coast is to step into a theatre of endurance. These places occupy

The fishing villages of Scotland’s northeast coast occupy a narrow band between cliff and sea, where geography dictates both form

Photography is a curious medium, somehow ill-equipped to be a truthful witness, with so many conceits, feints, sleights of hand,

I’m very sad to hear of the passing of Sir Terry Farrell. He was a pioneer of architecture and urban

Portraits from a place of darkness In 2012 The Building Centre became the stage for a body of work that

Giancarlo De Carlo died on the 4th of June 2005. Naturally Isabel Allen, then editor of the AJ, instantly commissioned

Photographing in Amsterdam for AHMM What stays with me about AHMM’s work at the University of Amsterdam is not simply

To photograph people within architecture is to enter a shifting terrain of scale, intimacy, and truth. At UVA Amsterdam, the

To speak of SIX on St Andrew Street is to speak not only of a building but of an atmosphere.

I was deeply saddened to hear of the death of Sir Nicholas Grimshaw. For many years he was not only

Working for Gensler in the 1990s and 2000s meant stepping into a world where scale was everything. Their projects were

The shutter, once my constant companion, now feels more like punctuation than the whole of the language. After decades of

There is an old trope of the architect as a lone genius, usually a man, determined to leave his immortal

The UK’s Largest EnerPHit Retrofit Cities are layered with memory and constantly reshaped by human intent. We trace the outlines

I have walked among quarries that look like wounds in the earth and also like cathedrals. You stand there and

A Building Born in Art, Creativity, and Ingenuity. Some buildings are born of utility, others of commerce, others still of

Number One Wood Street makes a statement that is at once formal and quietly radical. Fletcher Priest have drawn a

To photograph a building that exists largely underground is to enter a paradox. Daylight is absent, yet the photographic imperative

As a photographer, my encounters with FAT’s work were always about chasing the spark of something more elusive than just

When I was commissioned to photograph NBBJ’s Alley24 in Seattle, what immediately struck me was the way the project knitted together fragments

In the modern city we already live within a version of the village, though many of us have forgotten how

Photographed for Adjaye Associates, 2005 The Nobel Peace Center in Oslo occupies a building already heavy with memory: the Vestbanen

To stand at the edge of the sea in Pembrokeshire is to feel not just the presence of place, but

A portfolio should not be a ledger of completed projects. Too often it becomes exactly that, an ill considered archive.

The year had been heavy, a slow unwinding of commitments and endings. My projects were tying off, the last threads

There is a peculiar beauty in photographing at the Saatchi Gallery when it is neither dressed for its public nor

Photographed for Fletcher Priest Architects and TTSP From the river’s edge, One Angel Lane stands as a rare City development

There are buildings that make you look, and there are buildings that make you think. Allford Hall Monaghan Morris‘s Urbanest

There are moments in the built history of Britain that emerge, years later, not just as architectural artefacts, but as

There is a forest I have known all my life. Not merely as geography or backdrop, not as metaphor, but

In a city like London, layered, lived-in, and continuously self-editing, Covent Garden holds a particularly resonant place. It’s a district

There are moments as a photographer when the boundaries between disciplines, architecture, art, landscape, and light, dissolve into a kind

What has unfolded at St Martin-in-the-Fields is not a renovation in the conventional sense. It is a calibrated act of

Story, Meaning, and the Ethics of Seeing Try to think of a photograph of architecture that’s stayed with you. Lodged

As someone who has lived in Whitechapel for many years, I’ve come to understand this corner of East London through

I’ve photographed a lot of buildings in my career, from Athens to Zurich and everywhere in between. But very few

In a corner of Wandsworth, hemmed in by the River Wandle, a substation, and the edge of a 1970s shopping

Having worked as an architectural photographer since the mid-1980s, I’ve seen the game change. And despite the shifts, one thing

To photograph the rise of London’s towers is to engage with the city as it breathes, a body of mass

Photographing buildings, at its best, is a slow unfolding of character, a patient decoding of form, material, and intent. When

There are architects who talk well about space, light, proportion, and the city. And then there are those who simply

To photograph woodland is not to photograph the picturesque. That is a sentimental act, too easily believed. This is not nostalgia

I remember the early 2000s with a strange mix of clarity and blur. Which, in hindsight, feels fitting. Photography was

Over decades spent photographing architecture across continents, I have had the rare privilege of observing those few architects whose work

Cambridge and I, well, we have history. I was born in Cambridge. My family has deep roots in the city,

Baku is a city shaped by the elements. Perched on the western edge of the Caspian Sea, its cold, semi-arid climate and

There’s a peculiar kind of clarity that only reveals itself when a building is caught mid-transformation, stripped to its core,

There is a moment when you walk into BLOQS and you feel it. Tangible sense of things happening. In the

There’s something quietly heroic about Bristol’s Floating Harbour, its calm surface disguising the audacity of its 19th-century origins. Engineered into

Walk through King’s Cross N1C today and it’s hard to believe this was once an industrial no-man’s-land, an awkward interstice

There’s something about Charing Cross Road, a current under the surface. A sense that time is layered here, not just

The descent into Astana was violent. No poetic abstraction needed, just sheer meteorological hostility. A violent storm, thick with snow

There’s something about the site that insists on stillness. The reflecting pool, the framed horizon, the memory held in water

It was the hottest day of the year. That kind of oppressive heat, thick heat, heat that sticks to the

The Outernet, in London’s historic Denmark Street, is that rarest of urban creations: not a cynical branding exercise, but a

BCO Commercial Workplace 2018 award – BCO Innovation 2018 award – BCO 2023 ‘Test of Time’ Award. What makes a

Winner of the Best Fit Out of Workplace at the British Council for Offices (BCO) 2016 Perched high above the

I visited Alconbury in 2014, part curiosity, part enquiry, part record. The remnants of a vanished operational logic still sat

Above the concourse of Victoria Station, embedded in the complex structure of London’s infrastructure, a new layer has been added

We walk among the remains of civilisations we barely understand. Stone circles, earthworks, alignments that catch the solstice sun, all

Photographed for Harper Tackley I’ve photographed countless buildings over the years – some ephemeral, some eternal – but few possess

Most awards in architecture are won before a building has even had the chance to settle. Before the paint has

Architecture That Gives More Than It Takes I’ve spent decades photographing buildings that aspire to permanence, but permanence is no

Bleeding Heart Yard. It sounds like the title of a novel about unrequited love, but it’s actually a place. Charles

Soho Place is an enormously complex, technically demanding, breathtakingly audacious puzzle piece, masterfully pulling together the space above one of

Alex Ely and his team at Mæ Architects make good buildings. Thoughtful buildings. Buildings that actually believe in the people

A New Lease on Life So, Tower Hamlets has a new Town Hall. And where better to put it than

Gus Zogolovitch’s aim has always been clear: deliver design-led, new-build projects on forgotten inner-city gap sites. Gus worked with his

One Portwall Square: Bristol’s New Office with a Sense of Neighbourhood One Portwall Square isn’t trying to be cool —

Norton Folgate, a sliver of the City Fringe long caught between speculation and stagnation, has been reborn — not through

Over the past 12 months, 18 of AHMM’s projects were recognised by industry awards that celebrate architecture, urban design, sustainability,

Buildings have personalities, 10 Lewis Cubitt Square, well it’s the one that quietly knows it’s the smartest in the room

At the edge of a Dulwich estate stands a relic of the 1960s—once inefficient, once wasteful. Built in an era

There’s a moment, standing behind the lens, when a building gives itself away. Not in a dramatic sweep or self-conscious

The clients invited Williams Griffiths to remodel the first-floor flat of a previously converted property. Rather than impose a new

Inevitably, as a photographer, there will be that ultra dull question ‘which camera do you use’, as if it were

A Stone’s Throw from Clerkenwell Green 15 Clerkenwell Close has one of those noncommittal London addresses, dry, factual, and betraying

I first met YY back in the early 90s, it was known as 30 South Colonnade then. Muscled and broad

“So, hang on. Is this… the actual entrance?” I said “Yes” said Sam. “You’ve walked through it twice, I watched you, you

Pitched Passivhaus Somewhere deep in the conservation thickets of southeast London, where solar panels are eyed with suspicion and chimneys

“Materials are a vocabulary. Use them precisely and they’ll say exactly what you mean. Use them poetically and they might

Barrett’s Grove: A CLT Cloister in Brick, or, How to Make a Villa Out of a Void In Stoke Newington,

Concrete, Camera, Collaboration Photographing schools can be a tricky business. The light’s rarely where you want it, the timetable waits

Back in 2010, I photographed the Angel Building just after Allford Hall Monaghan Morris and Derwent London had finished pulling

“Masterplanning, or How I Learned to Stop Worrying and Learned to Love Vimto” I’ve never been fond of masterplans. Too

Through the Lens: Revisiting the Kentish Town Health Centre, Stirling Prize Shortlist 2009 (Years on, still standing. Still smiling.) As

Eric Parry’s 5 Aldermanbury Square occupies an awkward but highly charged fragment of the City of London. Sandwiched between Wood

Westminster Academy, located at the Naim Dangoor Centre, 2008 Stirling Prize shortlist, RIBA London Building of the Year award. A

In the Lake District, standing on the foundations of Isaac Wilkinson’s Iron Forge, there once stood a gallery. The Clocktower.

I first worked with David on his student housing at the Royal Agricultural College in Cirencester, back in 1991, it

A camera is a magic trick. You press a button, and—Hey Presto!—a moment is trapped in time, like a bug

Klimt spent his summers in Litzlberg by the Attersee, chasing light through the forest. The first compilation of his tree paintings

Isabel Allen and I spent a couple of hours photographing Jerry Tate for our first Reinventing Practice portrait. Jerry, being

The Quarry Studio sits there like it grew out of the ground; a simple conceit, a desire to be a

Architects, as a breed, are unaccustomed to being observed. Their work, they will insist, is what matters, the steel and

Over 2024 I have had the pleasure of capturing many narratives within our built environment. Each image in this portfolio

Islay in my old Defender — an act of motoring faith or insanity, depending on your point of view. I’ll

Waterfield House by Andy Puncher & pH+ Architects takes the English country house, turns it upside down, and lands it—deliberately,

“A night out at the Lord Napier” “We had heard about these sessions from Timothy Soar, the architectural photographer. Tim

“This place is big,” I said. “Big?” said Sam. “It’s ninety meters wide and three hundred meters long. You could lose an army

For years, Arthur Stanley House sat unloved—a 1960s post-war block with all the architectural charm of a forgotten filing cabinet.

In April 2013, Article 25 sent me to Uganda to photograph an education centre at a displacement camp for former

Somewhere between Methwold and the middle of nowhere, hidden in the sprawling geometry of Thetford Forest, there’s a woodland with

I first met the Lloyd’s building way back in ’84. I was working as bag carrier for Maestro Richard Bryant

Eric de Maré (1910 – 2002) was a British photographer and author, described as one of the greatest British architectural photographers.

When I first entered photography it was a calling rooted in a belief that images could change the world. A

Here’s something to think on: two people spent their whole lives wrapping up big things in fabric. Really big things.

A look back at January 2011. My job was surrounded by tanks, buildings were on fire, there was a curfew,

Working on large format, 8×10″ film, contact printed onto paper hand coated with Platinum. One Wood Street by Fletcher Priest

It starts with the camera, that stubbornly uncooperative machine. A film camera demands respect. It is heavy, mechanical, and intimidating.

I’m very happy that this modest private Chapel in rural Suffolk has won a prestigious Stone Federation Great Britain Award.

Way back early days of digital cameras—those chunky, plastic contraptions that made everyone a worse photographer but a better liar

There is a peculiar honesty to winter. The season strips away artifice. This is nowhere more evident than in the

I first made photographs for Allford Hall Monaghan Morris in 1998, when I photographed their very splendid North Croydon Health