About
French, in Cambridge since 1998. Photographer since 1995.
No team. No agency. I take the photos, I cull the edit, I send the invoices. Just the work.
How I got here.
I grew up in the south of France. I picked up a camera in 1995 — at a photography workshop at university in Toulouse. I came without a camera; the teacher took pity and lent me his. We were sent into town over lunch with thirty-six frames of film. Walking down rue Saint-Rome, a girl on a bike cycled past us with a hat like an American Civil War soldier. I followed her in a pan. The frame I came back with had a bicycle going one way and her head turning the other, the Levi's mannequins behind her blurred into ghosts. That photo was the best of the workshop. It is also probably the moment I stopped being a musician.
I moved to England in 1998 — to work as a translator, as it happened. Cambridge. I started shooting weddings, portraits, corporate work, the lot. I built a business. I built another. I built a third. Three are still trading.
Thirty years on, I shoot branding photography. Founders. Personal brands. Cambridge independents and SMEs. That is the work on this website. The rest — weddings, family, corporate volumes, events — sits at Cambridge Photographers, which I also run.
The look
The 50mm and the 200mm. Both wide open.
The signature is shallow. The eye in focus. The nose, the ear, the books on the shelf behind — softening into something close to a painting.
I shoot mostly with two lenses. A 50mm at f/1.4 when I want the subject inside their setting. A 70–200mm at f/2.8 when I want to step back and compress, and let the background fall away entirely.
It is not a filter. It is not retouching. It is the lens, the aperture, the distance. One bride did not hire me, years ago, because the look was too shallow for her taste. The same look is exactly what every founder books me for now.
I work with one eye. I was born nearly blind in the other. I cannot see in 3D, so I have spent thirty years recreating depth on a two-dimensional plane. The bokeh, the wide aperture, the carefully chosen focal point — it is partly that.
Photographers I keep returning to.
Anton Corbijn. Depeche Mode, U2. His cyanotypes — the blue series — are the photographs I have spent the longest looking at. I met him three times. The first was backstage at the only Depeche Mode gig I shot. We chatted. I gave him my card. Then a book signing in London. Then a portrait-photography talk at the Barbican. He recognised me both times. He has never called.
Henri Cartier-Bresson. The decisive moment. The economy of one frame. I started on film; I still shoot like film is expensive. When I work alongside an assistant who fires off twenty frames per moment, I quietly think about the editing they are about to do.
Robert Doisneau. Paris in black and white. Strangers caught looking like they belong to each other. The thing I learned from Doisneau is that a portrait does not need permission to be tender.
Jerry Ghionis. Australian. Wedding photographer, but really a teacher of light. I went through his materials in my thirties and they changed how I shoot indoors.
How I work.
No team. I take the photographs. I sit at the laptop and cull the take. I retouch the keepers. I package the gallery. I send the invoice. That is the whole pipeline. It is slower than an agency, and far more consistent.
One brief, in writing. Before every shoot you get a one-page plan. Location, wardrobe, shot list, timings, price. No surprises on the day.
Reply fast. WhatsApp, email, contact form — I aim to respond inside a working day, usually faster. You snooze, you lose.
Pricing in writing, before the shoot. Everything quoted. No add-on fees on delivery. The number we agree on is the number on the invoice.
If it's not good enough, I stop. I am not interested in delivering a shoot I would not put on my own site. If the day goes wrong — light, weather, energy — we re-shoot. It has happened. It is part of the job.
Past clients & recognition.
Over thirty years I've been commissioned by Cambridge institutions, blue-chip biotech, FTSE-listed companies, ambitious SMEs and independents — for branding shoots, leadership portraits, environmental work and full image libraries.
- Abcam
- Altos Labs
- AstraZeneca
- Avidity
- Barclays
- BDO
- Cambridge Judge Business School
- Camgenium
- CDP
- CellCentric
- CN-Bio
- Costello Medical
- Cranes Cider
- Cycle Pharma
- Dardan Security
- Darktrace
- Era Fellowship
- F2F
- Frontier
- Green Custard
- GW Pharmaceuticals
- Harvey Medical
- Isaac Newton Institute
- Jitsuin
- Kisters
- Knights Lowe
- Move With Us
- OST
- PitPatPet
- Prospectal
- Proteotype
- Radiela
- SciBite
- SLB
- Somnomed
- Techspert
- Undo
- University of Cambridge
- Veezu
Plus many smaller Cambridge businesses, charities and independents — work that often becomes the longest-running on this list.
Three Best Rated Photographer in Cambridge, eleven consecutive years. 130 reviews on Google, average 5.0. None of that is the work itself, but it is the closest a website gets to evidence that the work shows up.
Other ventures.
Branding photography is the work on this site. It sits alongside two other businesses I run, both built around the same question: how do you help a small business get found, trusted and chosen?
Cambridge Photographers is my general photography studio — weddings, family, headshots, corporate work, events. Three Best Rated in Cambridge for eleven years.
Cambridge Tours runs bilingual guided and photography tours of the city.
Visual Network is an AI-search-optimisation service for UK businesses — helping companies appear when buyers ask ChatGPT, Claude, Perplexity or Gemini for a recommendation.
Three businesses. One photographer behind all of them.
Want to work together?
A short call. No pitch.
Twenty minutes. We talk through the shoot you have in mind. One-page proposal back within a working day.
Enquire about a shoot