Why street and documentary photography? Absolutely - a single photo from a documentary series can be street photography, and a narrative can certainly be crafted from a collection of street photos. For me, the distinction isn’t in the images themselves but in the approach to taking them.

I love the serendipity in wandering the streets looking for candid gems, getting to know the city, and coming to recognise the familiar faces—both peers and subjects—while invariably becoming one myself. I typically don't ask for permission to photograph, with few exceptions, as is customary. However, I get a real buzz from connecting with subjects post-capture, often offering them a card to contact me, and the photo if it's a standout. Generally, these are the photos I share readily.

Yet, there's something compelling about dedicating yourself to a long-term documentary project. It involves adhering to someone else's timetable, stepping out of your comfort zone to capture the essence of the subject as frequently as possible, and striving to fully understand and depict the subject matter to be able to weave a narrative into the final print or series. This process is quiet and introspective—you won't see me sharing these photos incrementally; they’re meant to be consumed and appreciated as a complete body of work, from the broad scenes down to the intricate details. Dan Milnor, Matt Black, and Rennie Ellis have been particularly inspirational in this space.

The go-slow-don’t-share approach of documentary photography is as much character-building for me as it is holding true to the process. I'm relatively new to this approach, which to me represents the photography in its self-actualised form: from taking the shot to editing, sequencing, and ultimately presenting or printing. It's incredibly rewarding learning these new skills along the way.

I hope you enjoy the photos as much as I did taking, preparing, and presenting them here. Thanks for stopping by.