Nexus Catalyst

I was always interested in geopolitics growing up, and originally hoped to become a journalist, in the printed word sense, but then studied photography at art college. After discovering photojournalism I decided this was more my route, and loved that it was liberated from languages, and instead was a universal language, so began the long and unstable road of trying to forge a career within the industry.

It does feel like a way of understanding the world, and always has, as it takes you to the forefront of the issues and topics being covered, on the ground, and meeting people involved. The more difficult part is putting that into a photograph, or series of photographs that are able to convey that reality to the viewer, without the need for language, or extensive captions.

Yes, often, and increasingly so with the proliferation of social media, and the internet age. The ethical responsibility of being honest and fair with those you're photographing has never been greater, given that now everyone can see everything. There was a point when the people you might have been photographing would likely never see the final photographs, or end product, but now everything is omnipresent.

There are multiple nefarious actors that might bring negative consequences on those I'm photographing, from hostile states, to extremist groups and other non-state actors, as well as the friends and relatives of those depicted. It's always best to be open, honest, and despite maybe seeing an amazing image potential in front of you, to realise and accept the valid concerns that people might have, especially at protests, nightclubs, particular community events for example.

Home is a fascinating concept and topic, and obviously something I've covered a lot through my work. I am an immigrant, an emigrant, and my sense of home is a little in flux. I've lived outside my native Britain for almost all of my adult life, by choice. I've made a new home in several countries over those years, the longest here in Istanbul, which still feels like home today, despite always being seen as the foreigner when wandering around.

I do still feel a strong connection to eastern England, and Norfolk, where I grew up, and it's filled with nostalgia and memories, and I visit often.

Empathy, an understanding of the issue in the photo, or the person's life and situation, and an appreciation of what they might be living through. If someone goes away having remembered one of my images or series, I'd be pleased that the work has had some small imprint on their memory.

There is a long and winding debate about how much this is true, and to what extent being there with a camera can alter the reality, and interactions with people. I believe that if done sensitively and respectfully photography can very much represent realities, especially if the photographer stays in an area for a while, so people tend to forget their presence as much, and stop any sense of performing for the camera.

The role of a photographer or photojournalist is essentially to show the experience and reality of someone else, to someone else, you're the middleman/woman. I am often asked to write about the photos I have, and of course I'm not trying to be the protagonist's voice, but to simply and factually give context and an explanation to the visuals. Photography has more space for people in the images, and the scenes depicted, to speak for themselves, than other forms of media, if you give it a few seconds of your time.