Salt printing feels like a return to the very roots of photography. The process is deceptively simple—paper, salt, silver, and sunlight—but the results can be endlessly subtle and expressive. In my teaching, I encourage participants to experiment with toning, negatives, and papers, rediscovering this historic process as a living, creative medium.

I’ve always been drawn to the cyanotype process—not just for its history, but for the way it merges light, chemistry, and chance into something unpredictable. In my London studio, I teach both traditional and experimental cyanotype techniques, from hand-coating papers to toning and layering. Each workshop is about slowing down, exploring, and discovering what this blue process can reveal.

What fascinates me about gum bichromate printing is its unpredictability. Each layer of pigment and exposure becomes part of a slow, painterly dialogue between chance and control. In my workshops, I guide students through single and multi-layered gum prints—exploring colour, texture, and the blurred boundary between photography and painting.

Foraged Pigments & Site-Specific Materials / Foraged Materials in Image-Making /  This page explores how natural materials gathered from the site of the image-making — soil, river water, ash, hay, and more — are integrated into my prints. These foraged

Analogue Film Photography / A lifelong practice in craft, precision, and creative play. Analogue Film Photography / There’s something uniquely powerful about working with film. The slow process, the weight of the camera, the smell of developer in the darkroom