I have been doing this long enough to stop rushing.

I am Colin, a photographer working out of New England. I make portraits of people, pictures of places, and still lifes of objects that deserve the attention — usually in that order of frequency, though the still lifes are where I learned most of what I know.

My work is mostly available light. Not out of purism — I own the lights and I use them when a room gives me nothing — but because people behave differently under a modifier, and the difference is visible. Given the choice between a technically superior frame of somebody performing and a slightly harder-won frame of somebody actually present, I will take the second one every time.

The camera is a machine for waiting. Everything interesting it has ever done, it did because somebody stayed put.

How a session usually goes

We talk first, properly, before anything is booked — about what the pictures are for, who is going to see them, and what you actually like rather than what you think you should like. I will suggest locations and a rough time of day, and I will tell you honestly if I am not the right photographer for what you want.

On the day, expect very little direction for the first twenty minutes. That is not me being precious; it is the part where you stop noticing the camera. The pictures worth keeping almost always come after it.

Equipment, since people ask

A Leica M11 and a Fujifilm GFX for most work, a Canon R5 when autofocus has to be relied on, and a Hasselblad 907X when there is time to be slow. Fast primes, one bag, and a tripod I resent carrying and am always glad to have.

Elsewhere

Work has appeared in regional press and a handful of small-run books. Prints are available here, and enquiries gothrough this form — I answer everything within two business days.