... it does not finish here. What happens after it has been created is just as important. A considerable amount of time and work go into this process.

I shoot tradition-ally on film. After a photo session, the negatives are de-veloped and receive an initial evalua-tion, when I take out the images that do not meet my strict criteria.

I believe that my clients should not be burdened with images that are not

worth considering. I only release photo-graphs, which are good enough to carry my name.

A client's final choice of images is scanned at high resolution and processed by hand. Every photograph receives sinfully indulgent atten-tion: How a photo-graph is interpret-ed, is all about ex-pertise and artistic choice. This has nothing to do with digital or other tricks.

Retouching is one of the last and some-

times laborious steps. Retouching is not about adding gloss and glam, but about correcting the inevitable spec of dust or the eye-lash that has settled on a cheek.

Prints are produced in-house on a giclée printer and finish-ed by hand to exhi-bition standard, using archival quality materials. I use the finest inks to create a rich range of tones and shades, and only the best papers, which satisfy my demanding criteria

in terms of weight, brilliance, surface texture, longevity and tactility.

All work is per-formed in-house and by hand. There are no invariably inferior automated processes. Some photographers use outside contractors for printing, thus surrendering con-trol over the quality of their finished work.

I don't, because I feel that it would diminish the quality of my work.

From the moment of conception to the finished print, every photo-graph is as indi-vidually tailored as a bespoke Savile Row suit.