30 Minutes at Bank – London
Bank of England, London, UK
The photographs are a record of thirty minutes that never happened.
Working from a single fixed position facing the Bank of England, I photographed people passing through one small section of the City of London over thirty minutes.
The architecture remained constant while the people continually changed. From hundreds of individual observations, I selected figures and positioned them within new arrangements, bringing together people who occupied the same place during the same period but were never necessarily there at the same moment.
Every figure is real and was photographed candidly. Nobody was staged or directed. But neither are the finished photographs passive records of what happened. I chose each person who appears and determined their position, spacing and relationship to the other figures and to the architecture.
The resulting photographs occupy a space between observation and construction: the people are real, the place is real, but the moment itself never existed.
Against the repeated architecture of the Bank, patterns begin to emerge within the passing crowd — similarities of dress, gesture, direction and behaviour that are easily overlooked in the continuous movement of the city.
Rather than attempting to capture a decisive instant, 30 Minutes at Bank accumulates many separate instants into a constructed representation of time and place.
The series comprises thirteen photographs and forms the first completed chapter of an ongoing body of work using fixed viewpoints and defined temporal or spatial constraints.
LA MURALLA ROJA – NIGHT & LIGHT
Calpe, Spain
Ricardo Bofill’s La Muralla Roja is an architecture defined by geometry, colour and the changing behaviour of light.
At night, long exposures transform its walls, stairways and openings through the combination of ambient and artificial illumination. Familiar architectural forms become less certain as colour, shadow and darkness alter their spatial relationships.
The accompanying daylight work approaches the building differently. Square-format compositions isolate fragments of the structure, removing much of their wider context and concentrating instead on intersecting planes, geometric forms and Bofill’s distinctive palette.
Together, the two approaches examine how the same architecture can shift between physical structure and abstraction as light changes.
ART DECO MIAMI
Miami Beach, USA
Miami Beach’s Art Deco architecture is instantly recognisable, yet its buildings are often experienced amid the visual noise of the contemporary city.
In this series I deliberately remove much of that surrounding context, isolating architectural details, façades, colour and geometry. The photographs concentrate on the characteristics that give the buildings their distinctive identity while attempting to preserve something of their timeless quality.
Rather than documenting the buildings comprehensively, the work reduces them to selected visual elements: curves, lines, repeated forms, pastel surfaces and the relationship between sunlight and structure.
CONCRETE CUBISM
Concrete architecture appears solid and permanent, but our perception of it is continually altered by light.
Concrete Cubism examines Brutalist and concrete structures through fragments of shape, plane, shadow and geometry. By removing much of their architectural context, buildings become compositions in which apparent mass can become surprisingly ambiguous.
The work is concerned with the tension between the physical weight of concrete and the fleeting conditions through which we actually see it.
EARTH, WATER & AIR
Earth, Water & Air reduces landscape towards its most fundamental elements.
Rather than describing particular landscapes or locations, the photographs remove much of their contextual information and concentrate on relationships between land, water, atmosphere, light and darkness.
The work considers darkness not simply as an absence of light but as a means of simplification: a way of removing information until only the essential relationships within the landscape remain.
Bio
I am a London-based photographic artist and author whose work explores architecture, human movement, time and visual order.
My current constructed photographic practice has developed from a longstanding engagement with architecture, geometry and abstraction. Working from fixed viewpoints, I photograph people candidly over defined periods before selecting and repositioning individual figures to create scenes that never existed as single moments.
My current body of work began with 30 Minutes at Bank, a thirteen-image series made outside the Bank of England. The series forms the first completed chapter of a larger ongoing body of work, applying the same underlying approach to different locations and examining how people, architecture and time interact within each place. It represents a development in my practice, bringing people and accumulated time into the architectural environments that have long been central to my photography.
I am the author of seven books on photography, including The Minimalist Photographer and The Maximalist Photographer, published by Laurence King. The Minimalist Photographer has been translated into seven languages.
My work was selected for the Royal Ulster Academy of Arts 144th Annual Exhibition at the Ulster Museum in 2025.
SELECTED AWARDS AND RECOGNITION
2026 Shortlisted Finalist, British Photography Awards.
2025 Official Selection, International Photography Awards.
2025 Shortlisted, British Photography Awards.
2024 Architecture Photographer of the Year, ND Awards.
2024 Bronze, Photographer of the Year 1839 Awards
2024 Shortlisted, British Photography Awards.
2023 Bronze Award, International Photography Awards.
2023 Hasselblad Masters, Finalist.
2023 Bronze Award, Prix de la Photographie Paris.
2023 Shortlisted, British Photography Awards.
2022 Shortlisted, British Photography Awards.
2021 Hasselblad Masters, Finalist.
Alongside my photographic practice, I lecture, mentor and speak on photography and the creative process.