The central problem of this book was how to present the full arc of a graphic designer and photographer’s practice in print without falling into the rigid, CV-like rhythm of the conventional portfolio: project, text, project, text.

The book deliberately abandons the linear logic of listing work project by project. It works instead through an alternating density of images: large photographic spreads against small product shots, blank pages of solid colour against dense typographic pages. Near-abstract material close-ups (paper rolls, metal cones, concrete textures) interrupt the reading, then give way abruptly to highly saturated still lifes. The reader leafs through it less as a catalogue than as a maker’s accumulating visual notebook and photographic diary; the breathing room and uncertainty left between works keep something of the looseness and growth of the studio itself.

The slipcase is taken from a real corner of the photo studio: bare light stands, reflectors and backdrop cloth form a raw image that wraps the entire book. What is usually hidden when finished work is shown, the site of production, is exposed on the outermost layer, reminding the reader that the book is not a final display of results but an extension of the process itself. Opening the case is like drawing back the studio curtain, into the moment before an image is made.