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Getting In The Zone Before the Shot
I made this image in the seconds before the pistol was raised. No noise, no movement, just controlled breath and interior focus. The athlete’s posture says everything: shoulders relaxed, chin tucked, eyes slightly lowered toward the monitor—not in distraction, but in calibration. He’s not looking at the target; he’s visualising the result before the mechanics begin. The setting is sterile by necessity. A shooting range must eliminate variables. No colour, no texture, no distractions. That flatness worked in my favour—clean background, no depth needed, only presence. I framed it with intention: the shooter on the right third, facing inward, and the monitor on the opposite axis, forming a visual loop…
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Panning the Police
This frame it’s a reaction. A physical jolt to flashing blue, shouting, bodies in motion. I panned the camera instinctively, not to follow a subject, but to share the sensory overload of the moment. The result? A hallucination. A retinal echo of tension. Shot handheld at night, 1/2s exposure, ISO pushed to 3200. The blur is total—no anchor point, no sharp subject. Lines of neon bleed into the dark, and even the static elements—trees, pavement, the van—become fluid. That’s the point. This isn’t about precision; it’s about disruption. I framed with the van off-centre, allowing room for the bodies in blue and those not in uniform. Movement traces direction. We…
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The Modern Preacher
Sometimes, the most telling political images are made not in the glare of press conferences, but from the margins—from the places where presence is tolerated but not invited. This frame was taken from outside a closed-door meeting, the camera positioned behind a security mesh that divides the observer from the observed. Through the diamond pattern, a cluster of suited silhouettes gathers around a glowing screen. At the centre, partially obscured yet unmistakably in command, the party leader leans forward, his expression a mix of resolve and calculation. The geometry of the mesh becomes part of the narrative: an imposed barrier that both conceals and frames. It reminds us that power…
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Three Shadows
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Argument on the Range
I took this photograph during a sports shooting competition, and despite what the title might suggest, there was no animosity in the air—only a civil, animated exchange between two competitors. In the image, the man on the left, in his blue cap, leans forward slightly, speaking with deliberate emphasis, while the man on the right, hands raised, listens intently, possibly offering a counterpoint. Behind them, a third figure stands blurred, clipboard in hand, an observer or official adding quiet context to the scene. From a compositional standpoint, the choice of shallow depth of field works in favour of the narrative. The two men in sharp focus create an intimate focal…
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Different Financial Transactions
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The Sorcerer’s Shop
Walking past the narrow streets that night, I was struck by the oddly theatrical composition this small shop presented. “La Bottega delle Streghe” — The Sorcerer’s Shop — proclaimed the sign above, and there in the doorway hung a single jacket, swaying faintly in the evening air. Through the open door, the frame split into two narratives: the interior, softly lit and cluttered with fabric and objects; and beyond it, the alleyway, dimly illuminated, with a car just visible in the background. The framing here is deliberate — the doorway acts as both literal and visual threshold. The viewer is pulled in, suspended between the world outside and whatever spells…
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Very British
Taken in London, this photograph distils a handful of instantly recognisable motifs into a single frame — the black cab, adorned with a Union Jack roof, easing forward past a red telephone box, with “Look Left” painted on the asphalt as a quiet instruction to visitors. The two women waiting at the kerb, one in tights and flats, the other in sandals and jeans, are caught mid-interaction, their body language suggesting either anticipation of crossing or casual conversation. From a compositional standpoint, the cab takes command of the foreground, placed fractionally off-centre to allow the eye to travel backwards along the street. The depth is reinforced by the layering of…
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London in Motion: A Night Ride in a Single Frame
A red double-decker bus slices through the night, leaving only its luminous ghost behind. In this fleeting moment, captured on a wet London street, the city reveals its rhythm—not through its buildings or its people, but through its constant movement. The bus doesn’t pause to announce itself. Its iconic shape is blurred into streaks of red and blue light, a reminder that in this city, life is always in transit. The wet pavement catches the glow of streetlamps and traffic signals, spreading the colours like brushstrokes across black asphalt. Even the green arrow on the traffic light seems to point the way forward, as if urging the scene along. Behind…
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The Day of the Zombies
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South Bank’s Ghosts
London South Bank is rarely empty. People drift between lights, half tourists, half ghosts. This frame captures that uncertainty — the outlines of figures walking up the steps, undefined, dissolving into atmosphere. The architecture and sky barely hold form. You feel motion, distance, and a certain anonymity. I shot this image in one of those in-between winter evenings when the light fades faster than your eyes adjust. I hadn’t planned the frame; it happened as I climbed the steps toward the river and saw a group of people silhouetted against the low, cloudy sky. I missed focus entirely. What emerged, however, was a photograph that said more in blur than…
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Half a Bridge
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Where Do I Go From Here?
I made this photo in the middle of a transit hall—hard surfaces, glass glare, and the quiet choreography of people mid-journey. The woman in the foreground walks with purpose, but her eyes betray hesitation. She’s holding a ticket, a folded coat, a bag slung forward in a way that suggests she’s not fully settled. That moment of uncertainty, brief as a blink, is what locked this frame for me. The Leica M9 isn’t forgiving in high-contrast light like this. Dynamic range is limited, and if you blow your highlights, they’re gone for good. I underexposed slightly, prioritising detail in the skin and clothing, knowing I’d have to manage the blown…
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Killing Time
I took this shot on a warm afternoon along the South Bank, a place that constantly offers small theatres of human behaviour. What caught my attention wasn’t just the variety of people, but the choreography they seemed to form without knowing it. On the left, a couple stand, the man in mid-turn, the woman absorbed in her phone. In the middle, four figures sit on the pavement, each lost in their own world—two immersed in digital screens, two in books. To the right, two women converse, bodies leaning slightly inward. The visual anchor is the large poster behind them: an intricate illustration of a face framed by peacock feathers. It…
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Weren’t a Smartphone and a Selfie Stick Enough?
I came across this scene by the river, a curious reminder of how professional video production still insists on carrying a certain visual gravitas—bulky cameras, tripods, cables trailing like stubborn vines, a producer juggling a laptop in the open air. The subject, immaculately dressed in black with a luxury backpack and gold-accented shoes, seemed to embrace the contrast: part street style, part broadcast formality. From a photographic standpoint, I framed the shot to capture the triangle of interaction: presenter, cameraman, producer. The bridge in the background, softened by a wide aperture, hints at location without intruding. The muted palette of the surroundings lets the splashes of colour—those gold shoes and…
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Did You Forget Something?
Two Guardsmen march in precise step, the scarlet of their tunics and the gleam of polished boots cutting sharply against the muted stone façade behind them. The one at the rear carries the regimental colour, upright and immovable, while the man in front moves with equal discipline but empty-handed. It’s this absence — that invisible weight where a ceremonial object should be — that transforms a moment of rigid tradition into something quietly humorous. I composed the frame to isolate the pair mid-stride, ensuring both figures were given enough breathing space to let the eye move between them. The shallow depth of field was intentional; I wanted the bystanders in…
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The Financial Times at Night
Photographing office buildings after dark often reveals more than the day ever will. In this frame, the Financial Times offices stand illuminated against the void of a London night, each lit rectangle a stage, each desk a silent prop. The bright interiors are clean and geometric, their fluorescent light pouring through the grid of windows, set into the modernist rhythm of the façade. The composition is precise, aligned so the vertical and horizontal lines of the structure carry the weight of the frame. A slight foreground intrusion — the blurred metal fence — reminds the viewer that the vantage point is from the street, outside looking in. This physical separation…
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Late Night Conversation at Cardinal’s Wharf
I took this from across the street, handheld in the dark, balancing shutter speed against the pulse in my wrist. Inside, lit by that unmistakable domestic glow, a group leaned into conversation — not performative, not loud, just steady voices behind glass. I didn’t need to hear them. The posture told enough: bodies turned, heads dipped, attention fixed. The architecture did the framing. Georgian windowpanes divide the scene into grids, slicing the figures into segments — fragments of intimacy seen from a public path. The deep contrast between the warm interior and the cool, shadowed exterior gave the photo its form. This wasn’t voyeurism. It was a study in separation…
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Skull of Glass at the London Science Museum
Standing in front of this glass skull, I was struck by the tension between its physical transparency and the opacity of its meaning. Photographically, the object invites a very particular challenge — how to capture something that both reflects and refracts its surroundings while retaining a sense of sculptural form. I approached the composition head-on, embracing the symmetry of the human face while allowing the slight distortions of the glass to play across its features. The choice of a tight crop eliminates environmental distractions, forcing the viewer into a direct confrontation with the piece. The reflections — faintly revealing the space beyond — create subtle secondary layers, adding context without…
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A Single(‘s) Call
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Blackfriars Train Station Banner
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Just Another Piccadilly Circus’ View
There’s a temptation, when standing in the middle of London’s Piccadilly Circus, to think that you’ve seen it all before. And in a way, you have. This is one of the most photographed corners of the city—neon-lit, traffic-heavy, forever brimming with tourists. Which is precisely why I wanted to make this frame. Not to reinvent the wheel, but to quietly acknowledge its inevitability. I chose a slightly elevated position, letting the sweep of Regent Street’s curve pull the viewer’s eye into the frame. The red double-decker is exactly where it should be—almost a cliché—but here it works as a punctuation mark in the composition, tying in with the bold McDonald’s…
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A Boat Under The Bridge
There’s something inherently cinematic about the Thames at night. The water becomes a restless mirror, fractured and stitched together by the city’s lights. In this photograph, taken beneath one of London’s bridges, the play of colour is what first arrests the eye: deep blues and purples flood the steel framework, punctuated by warm reds and yellows that seem almost to breathe against the cold tones. From a compositional standpoint, the arch of the bridge acts as a powerful leading line, drawing the viewer’s gaze toward the illuminated boat gliding quietly in the background. The layering here — water in the foreground, the bridge’s underbelly at mid-frame, and the distant boat…
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Bus Driver
