JOURNAL — 02 MAY 2026

WHY I STILL PRINT PHOTOGRAPHS

A screen shows you a photograph. A print asks you to spend time with one.

Almost everything I shoot is delivered digitally, and almost everyone who hires me will only ever see the work on a screen. I still print, because a print changes the terms of looking in a way a screen never does.

A photograph on a phone competes with a notification, a scroll, another photograph a half-second later. A print on a wall doesn't compete with anything. It just sits there, indifferent to your attention span, until you decide to actually look.

I print a small selection from nearly every project — not the whole edit, just the handful of frames I think can survive being looked at slowly. Some of them end up in the gallery, some stay in my own studio, a few go home with clients who ask.

It's a small, slightly old-fashioned habit in an industry that's moved almost entirely onto screens. I keep doing it because I think some photographs are owed a slower kind of attention than a screen is built to give them.