About me

How I Work

I direct continuously. That is the single most useful thing I can tell you about a session with me, because it is the part people worry about most. Almost nobody arrives knowing what to do in front of a camera, and almost nobody needs to — I will tell you where to stand, where to put your hands, where to look and when to move, and I keep talking through the whole thing so there is never a silent moment where you are left wondering whether you are doing it wrong. The images end up looking unposed because of the direction, not in spite of it.

If You've Never Been Photographed Before

The first ten minutes usually feel strange. Then they stop. That is true of nearly everyone I photograph, including people who told me beforehand that they hate having their picture taken, and it is why I start every session with the easy things — walking, moving, talking to each other — rather than asking anyone to hold a pose while I adjust settings. By the time we get to the frames that matter, the camera has stopped being the point. You do not need to be photogenic, practised, or comfortable at the start. That part is my job, not yours.

Why Seville

Because very few cities give you this much variety inside a twenty-minute walk. The tiled geometry of the Plaza de España, the Moorish courtyards and gardens of the Real Alcázar, the whitewashed lanes of Santa Cruz, the river and bridges at Triana, the timber curves of Las Setas — five completely different visual worlds, close enough to combine in a single session. Add ochre stone that turns gold at the right hour and light that stays warm and low for most of the year, and it is a genuinely exceptional city to photograph in. I have worked all of these locations repeatedly and in every season.

Light, Crowds and Knowing When to Go

A large part of what you are paying for is timing, and it is the part that is invisible in the finished photographs. I know which courtyards are empty at eight in the morning and full by eleven, where the shade sits in July, which spots go flat in the middle of the day and which come alive twenty minutes after sunset. That knowledge is why I will sometimes push back on a requested time slot — not to be difficult, but because the same location an hour earlier is a materially better photograph. If I suggest sunrise, it is because I would rather you had the better images than the more convenient booking.

Proposals Are a Different Job

Photographing a surprise proposal has almost nothing in common with a portrait session, and it is the largest part of my work. It means arriving early, blending in, shooting from a distance with a long lens, and staying invisible until the moment has actually happened — then stepping in for a couples session while the adrenaline is still going. It means agreeing a signal in advance, having a plan for if they walk to a different spot, and being ready for the fact that these things rarely run exactly to schedule. The proposal photography page sets out how it works in practice.

Families and Small Children

Sessions with young children work when they are built around the child rather than against them. I keep them short and moving, photograph what is actually happening instead of asking for stillness, and I do not expect everyone to look at the lens simultaneously — that photograph is rarely the one families end up framing anyway. Older relatives get level ground and somewhere to sit between setups. I shoot the whole group first, while everybody is fresh, then work through the smaller combinations. More on the family and couples page.

Editing and What You Get Back

Every delivered image is edited individually — colour, exposure, tone — rather than run through a single preset in a batch. I aim for images that still look like Seville and still look like you: warm, clean, not heavily stylised, and not so processed that they will look dated in five years. Files arrive in a private online gallery at full resolution, they are yours to download and print, and there is no watermarking on delivered images and no per-photo upsell. Turnaround is usually around two weeks, with a small preview set sent within a few days.

Most of My Clients Are Visiting

Which changes how I plan. Sessions get built around flight times, fixed itineraries and the two or three days most people have in the city. If your dates are tight, tell me when you land and when you leave and I will suggest the slot with the best light inside that window rather than making you guess. If the weather turns — uncommon, but possible between November and February — we move to another slot in your trip wherever your schedule allows. Practical questions like what to wear and where permits apply are covered separately.

Getting Started

Tell me three things and I can give you a straight answer: the date, roughly how long you have, and who is being photographed. From that I will suggest locations, a time that suits the light, and a price for the session as described — rather than a tiered package you have to decode. If you are still deciding what kind of session you want, the portrait, family and proposal pages each explain what is involved, and the locations guide covers where. The contact page is the fastest way to reach me.