Journal

In a fjord of long shadows the light arrives late and leaves early. You learn to wait for it with the lens cap off and a thermos in your coat.

I ask everyone to sit for ten minutes before I lift the camera. Around minute eight they stop performing, and that is the frame I keep.

One Mamiya, one Leica, eleven rolls of Portra, a grey card and a folding stool. Anything more and I stop looking and start carrying.

Film makes me decide before I press the shutter. Ten frames on a roll of 120 is a budget, and a budget is a point of view. I shoot digital when a client needs it the same day; everything else goes to the lab on Tuesdays.

Every client sees a contact sheet before the selects. People choose differently when they can see the frames either side of a picture: the blink, the laugh, the one where the light arrived.