Hi, I am glad you've made it this far. 

I'm sure you know my name, that I am a photographer, and that, like a million other photographers out there, I run photography workshops.
That's probably about it.

What you don't know yet, but will probably discover over the next five minutes, is the journey, experiences, and realisations that shaped my workshops and why I teach street photography.

Funny enough, though, I've never been a big fan of putting labels on my own photography. Over the years, my work has moved naturally between street, documentary, and travel photography, three genres that have a lot in common.

Looking back, I realise I've always been curious about people, moments, and the little gestures that often go unnoticed. Even as a teenager, on school trips, I was far more interested in photographing what was happening around me than in taking the classic school-kid pictures in front of monuments.

I still remember getting my two rolls of film developed and watching my parents' faces as they looked through them, finding what must have seemed like a random collection of shots. But each one was a note to myself: something unusual I'd spotted, a local habit I'd discovered, or a candid moment I wanted to remember and tell them about when I got home.

I didn't know it at the time, but I was already using photography to tell stories.

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The first turning point came after my degree in Architecture, when I received my very first semi-professional camera, a Canon EOS 20D, as a (requested) gift.

My passion for photography had already become well known at university, and I soon began collaborating with the department, photographing architectural projects for book publications and also getting involved in documentary assignments that, for the first time, brought me into contact with human stories.

The second turning point was unexpected.
I found myself creating tailored architectural and construction design lessons for students who had previously attended some of my presentations at university. It seemed they found my approach to deconstructing and simplifying concepts easy to understand and remember.

Years later, these two apparently separate sides of who I am came together when I moved to Dublin, Ireland. During my first years there, I had the opportunity to lead photography workshops in community development centres, bringing photography and teaching together for the first time.

At the time, I had no idea that training others would become my full-time job. I eventually moved into corporate training, where, alongside delivering complex training programmes, I became heavily involved in improving the learning experience.

Everything I have learned over those years, from coaching hundreds of people, continues to shape the way I design my workshops today.

To me, a great workshop isn't just about sharing knowledge, but also about creating a supportive environment where you feel safe to experiment, make mistakes, and receive thoughtful feedback that challenges your way of seeing while also inspiring you to look at things differently.

It also means helping you develop your own photographic voice while giving you an approach you can return to long after the workshop ends.

02/04 ➜

Meanwhile, as my career as a trainer unfolded, the Canon EOS 20D became my trusty companion and my passport to the world.

Dublin became my everyday training ground. Often, after long days at the office, I'd hit the streets with a single goal: to refine my vision.

Compared to architectural photography, street photography taught me to observe life. It gave me a new lens through which I notice moments I would otherwise have missed; not just light, shapes, and composition, but the subtle narratives playing out in everyday life.

Every new place I photographed challenged me to adapt to its pace, its people, and its habits before I could truly see its stories. I became fascinated by the idea that, no matter where I was, ordinary life was constantly producing unique, funny, dramatic moments (and potential photographs), most of which disappear before anyone notices them.

Those moments could be found anywhere: in a subject's emotional state, a perfect composition, the juxtaposition of elements, or often, in my interpretation of those. Seeing and capturing them as visual stories became the quest that pushed me to train my mind and eye to pre-visualise and anticipate those fleeting moments.

This period was a real revelation. After years of experimentation and debates practising different genres of photography, I discovered that street photography gave me a completely new way of seeing the world. For the first time, I felt truly connected to it. 

Since then, I describe those moments of connection as looking at a stereogram; an image that looks nonsensical at first but, when you pay close attention, it reveals an extraordinary 3D world inside. You see things that others can’t see. It’s like a superpower.

That's exactly the awareness and confidence you develop when you have a method that supports you in understanding who you are and what to look for, untangling the visual complexity of a new location, and recognising the stories unfolding around you.

03/04 ➜

More than twenty years have passed since I received the EOS 20D I dreamed of (and no, I am not shooting with it anymore 😊).

Since then, I've spent thousands of hours walking streets, markets and neighbourhoods of some of the world's most fascinating cities in search of moments full of narrative, mood and atmosphere.

Behind those photographs, however, lie years of study, conversations, mistakes, disappointments, and rewarding experiences that have gradually made me a more conscious and intentional photographer.

The journey is still ongoing, and somewhere along the way I realised that photography and teaching have never been two separate parts of my life. One taught me how to see the world; the other how to help others see it for themselves.

Bringing the two together through photography workshops felt like the most natural step in my journey. They are my way of sharing everything I've learned about photography, but also about preparing to photograph in new locations, researching places to maximise photographic opportunities, and understanding what stories they might tell.

Now, if the fear of travelling to a new location, shooting strangers, or seeing nothing worth photographing feels familiar, if you often find yourself wondering why others, visiting the same locations, create more compelling images, then you're not alone. I've experienced many of these moments myself, before I learned to see differently.

And I know that it's easy to believe that the next camera, the next dream destination or the next YouTube video will move your photography forward. And while all of those can certainly help, real progress comes from practical experience and from learning to see beyond your own habits.

The real value I want you to take home isn't just in the photographs you'll make during the workshop, but also in the new way you will approach street photography afterwards.

If this feels like the right step forward in your photographic journey, I'd love to welcome you to one of my upcoming workshops.

04/04