About Me
I picked up a camera for the first time in 2013, studying photography at sixth form with no particular plan beyond enjoying it. For a few years it stayed that way — a hobby, something I did for the love of it, alongside a job at a bank that paid the bills but fed very little else.
In 2019, that changed. Redundancy has a way of forcing decisions you might otherwise keep putting off. With a career as a bank teller behind me and a camera in my hand, I made a choice to stop treating photography as something I did on the side and start treating it as the thing I did. I haven't looked back since.
Finding the Colour
The style you see in my work today has its roots in a trip to the Balearic Islands in 2016. Something about the light there — the way it sat on the water, the warmth of it against a cool sky — made me want to find a way to push colour further than reality allows. I became a little obsessed with the balance between warm and cool tones, and how far you could take that tension before an image stopped feeling like a photograph and started feeling like something else entirely.
That question has driven every image I've made since.
Colour, for me, doesn't come from photography alone. Japanese city pop and K-pop have been a quietly significant influence on the way I think about palette — particularly the way K-pop music videos use colour not as decoration but as emotion. Vivid, saturated, deliberately artificial. There's a fearlessness to it that I find genuinely inspiring, and I think some of that fearlessness lives in my work too.
My process is one of careful colour inversion and grading — taking what the camera captures and transforming it into something that feels heightened, vivid, and just slightly impossible. The world recoloured. Not to deceive, but to reveal something that was always there in the feeling of a place, even if the camera couldn't quite see it.
The Moment It Clicked
In 2019 — the same year everything else changed — I created a piece called You Know Where To Find Me. The colours in the waves did something I hadn't quite achieved before. Warm and cool in perfect tension, the water almost luminous. I knew when I finished it that I'd found what I'd been looking for. Everything since has been a refinement of that formula.
Why the Sea
I grew up near the beach, and seascapes have never really left me. There's something in the way sunlight behaves on moving water — the way it catches on a wave crest, fractures across the surface, turns a single moment into a hundred different colours — that I find endlessly photogenic and endlessly calming. I think that sense of calm is something that carries through into the finished work, even when the colours are at their most vivid.
I want people to feel something when they look at my photographs. Optimism, mostly. A kind of playful calm.
Beyond the Lens
In 2022, a piece of my work was featured in Elle Vietnam — the first time my photography appeared in a major international publication. It's the kind of thing that reminds you that an image made on a coastline somewhere can travel much further than you imagined.
Every order that comes through still gives me a genuine sense of honour. Knowing that my work is living on someone's wall, on their desk, in their home — that's not something I take lightly. It means a great deal.
Thank you for being here.
— Nathan