What it’s like to work with me.
A short essay in five parts. Read it through; it is most of what you need to know.
A first note
You write to me through the form. I write back within a day or two; sometimes the same evening. It is a real reply, not a template.
A short call
Twenty minutes on the phone. We talk about the day or the season you are planning a record of, and what you want it to feel like.
A simple contract
Two pages, written plainly. Clear pricing. A retainer holds the date. We pick a location, a window of light, an arrival time.
The day itself
I arrive early and I pay attention. I work quietly, at the edges of what is happening. The photographs start when the room settles.
The gallery
A small preview within seventy-two hours. The full edit four to six weeks later. Every frame worth keeping, in high resolution.
I will not ask you to perform. I will ask you to stay long enough in the room that the room becomes real again.
From the people in the frame.
We were nervous. Flora made us forget the camera was even there. Our photos look like us — not some staged version we don't recognise.
Flora captured moments I did not even know happened. Every frame feels like the best version of a day I already loved.
A few asked often.
What if we are awkward in front of the camera?
Most people are at first. It usually lasts ten minutes. The photographs start when you stop thinking about them.
What should we wear?
Whatever you would wear on a Sunday you liked. I will share thoughts if you ask, but trust your own taste.
Can we bring the dog, the kids, the grandparents?
Yes. The more honest the room, the better the photographs.
What if it rains?
We adapt. Some of my favourite frames were made in overcast light.
Do we need to plan poses?
No. That is my work. Yours is to be in the room.
Sound like your kind of photographer?
Write to me