Last month, I had the incredible opportunity to be commissioned by The New York Times to photograph a story on London’s very own ‘Philadelphia dive bar,’ Passyunk Avenue. As the city geared up for the Super Bowl, I was briefed with capturing the authentic Philly spirit that this hidden gem brings to the heart of London. And let me tell you—it was such a fun experience!

Passyunk Avenue is a piece of Philadelphia transplanted into London. From the food to the atmosphere, it genuinely transports you to the East Coast, making it a must-visit spot for anyone craving a taste of Philly while in the UK. It was amazing to see how the bar has become a hub for Philadelphia Eagles fans, especially as they geared up for the big game!

This shoot was especially nostalgic for me, as I haven’t shot food in a while. It took me back to my days in Melbourne shooting for Broadsheet, where I would run around the city capturing everything from local cafes and bars to major events. There’s something so dynamic about shooting food and the vibrant energy that comes with it—whether it’s the perfect burger or the excitement of a game-day crowd.

The whole experience was a blend of creativity, nostalgia, and excitement, and I’m thrilled with how the photos turned out. Be sure to check out the full story in The New York Times and get a closer look at the Philly vibe in London: Read the full story here.

#Photography #SuperBowl #PassyunkAvenue #London #PhiladelphiaEagles #NYT #PhillyInLondon #travel #travelphotography #foodie

A couple of weeks ago, I had the privilege of being commissioned by the Film and TV Charity to produce unit stills and behind-the-scenes photography for their short film “Break The Cycle.” This powerful video campaign aims to raise awareness about mental health and wellbeing within the Film and TV industry, helping to build a healthier and more supportive environment for everyone involved.

This project truly resonated with me on a personal level. As a photographer who often works on set, I’ve witnessed firsthand the demands and pressures that come with this line of work. It was both fascinating and a bit surreal to be shooting BTS of BTS—photographing actors who were playing crew members, blurring the lines between reality and fiction.

The atmosphere on set was super fun, filled with passion and purpose. I had such a fantastic time working alongside an incredibly talented team, and I was fortunate enough to capture some key moments that beautifully encapsulate the essence of the campaign.

Last week, the video was officially launched and has already made a significant impact. It’s been amazing to see how well it’s been received. You can check out the full video on the Film and TV Charity’s social channels.

Here are some of my favourite shots from the shoot—moments that not only tell the story of the film but also highlight the importance of mental health and wellbeing in an industry that’s close to my heart.

I’m grateful to have been a part of this meaningful project and look forward to seeing the positive change it inspires. 

A couple of weeks ago, I had the pleasure of welcoming models Florence (@Another Mother) and Persis (@First Model Management) into my home studio for a beauty test shoot. This session was an exciting opportunity to set up the studio in my new space and explore different lighting setups and styles.

With myself handling both the photography and styling and the talented Tianna on hair and makeup, the shoot came together beautifully. It had been a while since I last styled a shoot, so stepping back into that role added an extra layer of creativity to the process. Shooting with two models at the same time was also fun —balancing composition, energy, and dynamics between them. 

Looking forward to sharing more soon!

Image of space and backdrop.

I’m thrilled to announce that the National Geographic Live Masterclass event has just released its final tickets, and I’m incredibly honoured to be one of the panellists for this event! 🎉

The Final Tickets Are Here!

Limited spots are available! You can grab your tickets by clicking the link below:

🔗 https://ngtr.uk/speaker2

Exclusive Discount for You!

As a special thank you for being part of my community, I’m excited to offer you an EXCLUSIVE 10% discount on your ticket! Simply use the code SPEAKER10 at checkout to claim your discount.

The masterclass will be held at The National Theatre on 30th January 2025  📸✍️

This event is a unique opportunity to learn from some of the best in the industry, connect with like-minded travel and photography enthusiasts, and walk away with valuable tips and insights that you can apply to your photography journey.

I can’t wait to meet you all in person and share everything I’ve learned over the years of photographing the world.

Looking forward to seeing you at The National Theatre in January! 🙌

I’m absolutely thrilled to share some exciting news with all of you—I’ve been selected as one of the panellists for The Masterclasses by National Geographic Traveller (UK), on the theme “Gear Up for Any Assignment.” This exclusive event brings together some of the brightest minds in the world of travel and exploration, and I am incredibly honoured to be part of this inspiring line-up.

The event will take place on 30th January 2025 at the Buffini Chao Deck at the National Theatre in London. If you’re passionate about travel, storytelling, photography, and the art of exploration, this is an unmissable opportunity. The day will feature a variety of experts discussing the ins and outs of preparing for travel assignments—whether you’re an aspiring journalist, photographer, or someone who simply loves to explore the world.

As a panellist, I’ll be sharing insights on everything from the equipment and gear we use on the field to the strategies that help us get the best shots and stories. I’ll be joining an incredible group of speakers, and I can’t wait to dive deep into discussions about what it takes to document the world’s most fascinating stories. Whether it’s about navigating the unexpected or preparing for the most challenging environments, we’ll be offering practical advice and expert tips.

If you’re in London or planning to be there on the 30th of January, I would love to see you at this event. It promises to be a day filled with inspiration, knowledge-sharing, and, of course, a celebration of everything that makes travel so special.

Book your tickets now via this link on Eventbrite to reserve your spot and join us for what will surely be a memorable event.

Thank you to National Geographic Traveller (UK) for this amazing opportunity, and I can’t wait to connect with all of you in person!

See you in London! ✨

I’m beyond excited to finally share a project that’s been close to my heart for nearly nine months. In 2022/23, I had the incredible honour of working on Andor  Season 2 at Pinewood Studios, collaborating with Lucasfilm and Disney on what has undoubtedly been one of the most rewarding gigs of my career so far. As both a Portrait Gallery Photographer and 2nd Unit Stills Photographer, I got the chance to work alongside some of the most talented people in the industry, and I’m still pinching myself that this dream opportunity came true.

The energy, creativity, and passion that went into making Andor  Season 2 come to life was nothing short of inspiring. It was a whirlwind experience, and I couldn’t be more grateful to have been a part of it.

Empire Magazine Jan 2025 issue, featuring: Genevieve O’Reilly as Mon Mothma, Shot by Hayley Benoit. Diego Luna as Cassian Andor, Shot by Andrew Eccles. Ben Mendelsohn as Orson Krennic Shot by Des Willie.

But here’s the cherry on top: One of my portraits (above) made the cover of Empire Magazine 🙌🏾 My photograph of the talented Genevieve O’Reilly as Mon Mothma was chosen for the January 2025 issue, and seeing my work on such a prestigious platform has been an absolute dream come true. There’s something incredibly special about seeing your images in print, and to have this particular one featured so prominently is something I’ll never forget.

While I can only share this one image for now, I promise there’s much more to come! Watch this space for more of the portraits and stills I shot during my time on Andor S2.  There are some incredible behind-the-scenes moments I can’t wait to share with you all.

A huge thank you once again to everyone at Lucasfilm for trusting me with this project and for giving me the opportunity to contribute to such an amazing series. I’m so proud of the work we did, and I can’t wait for you to see the final product — and the images I captured — when Andor Season 2 hits screens on Disney+.

A couple of weeks ago, I had the incredible opportunity to photograph a live performance of The Hatpin (Revival), a powerful 70-minute musical thriller that delves into a pivotal chapter of Australia’s history. Set against the backdrop of Australia House, this production tells the story of seven women whose courageous actions led to the creation of Australia’s first foster laws—a subject that is both deeply moving and socially significant.

As a photographer, I’m always drawn to the raw emotion and energy of live performances. The challenge of capturing the intensity of theatre while also telling a story through my lens is something I truly enjoy. With The Hatpin (Revival), I found that challenge heightened by the depth of the narrative and the vibrant, intimate setting of Australia House. This performance wasn’t just a show—it was a moment in time, a reflection on both personal and national history, and I was privileged to document it.

See below some of my favourite photos from the show. 

This is a continuation of my personal project, “We Move” — a project that explores the intimate and powerful relationship between dance and mental health. Through these images, I aim to explore the ways movement can heal, empower, and offer expression to emotions that might otherwise go unsaid.

In July I had the incredible opportunity to work with Adam, a dancer whose journey with mental health is deeply intertwined with his art. We shot this series at the iconic Royal Albert Hall, a venue known for its grandeur and timeless elegance. I wanted the location to feel both classic and dramatic, an ideal backdrop for Adam’s movement. Ballet, with its emphasis on control, grace, and precise lines, felt like a perfect fit for his style, and I was drawn to the idea of combining that discipline with the raw emotion he brings to his performances.

The Royal Albert Hall offered a sweeping, almost cinematic space. As we moved through the shoot, I was fascinated by how Adam truly utilised the vastness of the space. His arms, hands, and body formed elegant shapes that spoke volumes, often conveying a sense of longing, release, and introspection. There’s a quiet strength in the way his body seems to both reach out and hold back at the same time, almost as if the dance itself is a form of communication that transcends words.

It’s not just about the movement, though—it’s about what the movement represents. For Adam, dance is an essential outlet for managing his mental health, a way of processing emotions that are difficult to express otherwise. The stories he shares through his body on stage reflect his inner journey, the ups and downs of living with mental health challenges, and the power of dance to create moments of healing and connection.

See below for Adams’s Story. 

Adam, Jul 2024 

“Dance saved me! Through adversity and obstacles, I believe that is how we grow as people. As a 5 ft 6 lad who is often the smallest in the room, my journey with dance and my mental health is always changing and evolving.

During my undergraduate auditions, I felt incredibly weak as a dancer. I was really struggling with my body image, feeling very slight and small. In my first year of drama school, I developed an immune disorder related to my blood, which meant I was placed on a medical course of steroids. This caused me to gain weight, especially in my face. It was an incredibly emotional time for me; I could feel my previous demons resurfacing, particularly with my body image and how I looked. Dance is for everyone, regardless of shape or size, but it was the shock of physically changing in such a short period that really knocked me. I was advised to limit my dance and movement as it was putting my health at risk.

When I was eventually given the green light to resume physical activity and return fully to dance, my passion was reignited. I became much healthier, and since my first year at drama school, I have become physically fitter. I have also learned to embrace the obstacles and challenges that may present themselves along the way as part of my personal journey.

I was born with a birth defect in two of my fingers, which means that some of my fingers cannot fully straighten. I’ve had two surgeries on one of them to correct the defects. If I opt for alternative surgery, I run the risk of losing motion and flexibility in my fingers. To a choreographer, my fingers and lines may not be aesthetically pleasing or ideal. However, my fingers are a part of me—denying that part of myself would mean denying who I am and ignoring the fact that all bodies are different. Dance has helped me learn to love my imperfections, embrace my height, and has given me lifelong friendships.

My love of dance would not have been possible without my incredible dance teachers, past and present, who have inspired me throughout my life and continue to inspire me. I will be forever in their debt for helping me learn to love my imperfections through dance.

I am incredibly grateful to the dancers I have befriended, who constantly inspire me in class or with whom I’ve had the pleasure of performing. The bonds I’ve formed with these dancers have been incredible, and they serve as my daily reminder that dance is for everyone. Physically moving and dancing truly lifts my mood, keeps me balanced, and helps me stay fit in a fun and mentally rewarding way.

Every person’s body is unique, and dance looks different on each individual. I believe the performing arts and dance industry have a duty of care—especially to young people—to champion diversity and create a healthy, supportive culture where all body types and abilities are celebrated. We should move and dance for the love of it and the pure joy it brings!”

In July, I spent some time working on my personal project “We Move”, a photo series that explores the relationship between dance and mental health. The project is deeply personal to me, and each portrait represents more than just a moment frozen in time — it’s a story, a feeling, an expression of resilience and joy through movement.

For this series, I wanted to capture the diverse ways that dance can be a source of healing, self-expression, and empowerment, especially for those navigating mental health challenges. Dance is a form of release, a therapy, a way to reconnect with our bodies and minds. Through the lens of this project, I aim to bring attention to the role that movement plays in mental well-being.

One of my subjects in this series is Georgia. I met Georgia through a mutual friend, and we instantly clicked over our shared love for dance. Georgia is a burlesque performer, and her connection to dance is not just artistic — it’s cathartic, grounding, and full of energy. For her, burlesque is a way to express herself, confront insecurities, and find strength through vulnerability.

For this shoot, I decided to take Georgia to Ridley Road Market in the heart of Dalston, East London. Ridley Road is a place that’s always buzzing with life — a market where cultures collide, where fruit and flowers mix with vintage clothes, and the streets are lined with the vibrant colours and sounds of people living their everyday lives. There’s something incredibly raw and authentic about it, and I felt it would be the perfect backdrop for Georgia’s story.

I wanted to juxtapose the dynamic, chaotic environment of the market with Georgia’s graceful yet bold burlesque performance. She stood out amidst the colours of the wigs, jewellery, and fresh produce, her costume sparkling in contrast to the everyday hustle of the market. There was a kind of magic in how she moved through it all — a beautiful blend of strength and vulnerability.

Shooting Georgia in this setting was an incredible experience. As I watched her perform, it became clear how much her relationship with dance has shaped her sense of self and well-being. It’s a reminder that mental health isn’t always something that’s visible on the surface — it’s something that’s often worked through in quiet, personal moments of expression, whether through movement, art, or creative outlets.

Each image in ”We Move” tells a unique story, but the underlying theme remains the same: dance is not just about performance, it’s a form of therapy, healing, and empowerment. It’s a way to move through life’s challenges, to express what words cannot, and to find strength in the places where we are most vulnerable.

I’m incredibly grateful to Georgia for sharing her story with me, and I’m excited to continue this journey through We Move, capturing more incredible individuals who are using dance to transform their mental health. 

“Dancing was always for me, an exploration of my body’s movements, a celebration, a practice, a devotion and a release. When I started show-girling my movement became a more public practice which interrogated my relationship with my body. To begin with, it wasn’t always a clear-cut journey. But with time, and a passion for adorning my body with movements which celebrated it, an attitude which rigorously dismissed the mainstream media’s expectations on women’s bodies and crystallised accessories - I have been able to find a truly euphoric space. It’s precious and addictive and essential.” - Georgia, Jul 2024 

Last month, I had the privilege of being commissioned by Fortune magazine to shoot a portrait of Julia Hoggett, CEO of the London Stock Exchange, for their cover feature on the Top 25 LGBTQ+ CEOs in the World. It was a fast-paced, high-stakes shoot with a very specific goal: to capture a powerful, engaging image of one of the most influential leaders in finance today, in the limited time we had.

We had just 30 minutes with Julia, and we needed to shoot in three different locations within the London Stock Exchange. With such a tight schedule, I had to make every second count. Thankfully, I was working with a fantastic team—Pim Van Baalen, and David Buckley, who helped to ensure the lighting was clean and dynamic, perfectly complementing Julia’s commanding presence.

The first shot we captured (pictured above) was actually taken within the first 10 minutes of meeting Julia. I’d say that’s a testament to her natural poise and the ease with which we all settled into the shoot. Despite the whirlwind pace, Julia’s professionalism and charisma made it incredibly easy to work with her. She was calm and collected, which allowed me to capture her personality in that first shot. 

Lighting was a big part of what we wanted to achieve with these portraits. We opted for a clean and engaging setup, making sure that the lighting not only highlighted Julia’s features but also created a sense of depth and warmth. It was important to me that the shot felt personal and authentic, reflecting the multifaceted nature of Julia’s leadership and the significant role she plays as a trailblazer for the LGBTQ+ community in business.

Overall, I’m really pleased with how the shoot turned out. Julia’s image on the cover is not only a representation of her as an accomplished CEO, but also a powerful portrayal of her as an individual who leads with integrity and purpose.

It was an honour to be part of such a meaningful project, and I’m grateful for the opportunity to have worked with Julia and the team at Fortune magazine.