Fine-art photography — large format · long exposure
I photograph the places people leave — empty stations, drained pools, shuttered cinemas, the last light on a closed road. Everything is shot on 4×5 film, developed by hand, printed in a darkroom that still smells of fixer.
scroll — the two halves move against each other
Selected works · 2016—2025
I spent two winters photographing the hours when a city refuses to be seen. Each frame is a twenty-minute exposure; the people who should be there are reduced to the faintest ghost or erased entirely. What remains is the architecture of waiting.
A study of the places where concrete meets water and neither wins. Shot on 8×10 and printed in platinum for the range of greys — the sea here is never black or white, only the long middle between them.
A year documenting the last single-screen cinemas of the region before they closed. I shot only the empty houses — the moment after the final credit rolled and the light came up on nobody.
The salt flats are the closest thing to a blank page I have found. I drove out alone in the dry season and let the wind decide where I stood. Every print is a record of a place that erases itself by morning.
The machines that once ran a town now sit in silence. I photograph them the way you would photograph a sleeping animal — carefully, from a distance, without waking them.
I am T. T. T., a photographer working in monochrome. I was born in a port city that has since been redeveloped twice, and I think that is why I keep returning to the places that are about to disappear — I am trying to get there before the crane does.
I shoot almost exclusively on 4×5 and 8×10 film, developed by hand in a darkroom I built in the back of a former bakery on Meridian Street. The enlarger is a 1974 De Vere that I bought from a closing newspaper and have never once regretted. I print on fibre-based paper, usually Ilford, and tone sparingly — the image should carry the weight, not the chemistry.
My work has been shown in small galleries and larger group shows across the country, and hangs in a few collections I am quietly proud of. I teach a weekend darkroom course in the winter months and take on a limited number of commissions each year.
Currently — finishing The Quiet Machines for a solo show in the autumn, and printing a retrospective of The Empty Hours at a larger scale than I have attempted before.
Studio — 214 Meridian Street, the old bakery, up the metal stairs at the back. Open by appointment, most afternoons.
For prints, commissions, or to visit the darkroom, write to me here: