Branden Jacobs-Jenkins' extraordinary play, described by the New York Times as 'this decade's most eloquent theatrical statement on race in America today.' The National Theatre made a behind-the-scenes video of my shoot (click through to view).

Mahershala Ali has followed his Oscar win with a Golden Globe for Green Book. He talks about fatherhood, being a Muslim in Trump’s America and years of typecasting. Shot for The Guardian Weekend.

Composer Jon Clarke, who wrote the original score to the feature film 'Kissing Candice' (2018). A beautiful piece, well worth a listen.

‘Will they forgive me?… No’
Viktor Suvorov defected from Russian military intelligence, the GRU, to England in the late 70s. KGB defections are more common; the other high-profile GRU defector to the UK is Sergei Skripal, poisoned in Salisbury in March. So what’s it like knowing the Kremlin never forgives, never forgets?
I photographed Viktor for the Guardian Weekend.

The artwork for the upcoming production of Anna. A ground-breaking new sonic collaboration created by Ella Hickson and Ben and Max Ringham, opens in the Dorfman Theatre in May. This headphone-based sound thriller will give the audience intimate access to communist East Berlin.

Actor Joe Alwyn photographed for The Jackal magazine. We discussed the perils of being on social media, keeping his private life out of the Press & why he’s most proud to be involved in his forthcoming films The Favourite & Mary Queen of Scots .

A shoot in Snowdonia with downhill mountain bike world champion Rachel Atherton just after her perfect season.

The second part to a national campaign for The Truth Project, an initiative to offer support for survivors of child sexual abuse. The Truth Project is part of the Independent Inquiry into Child Sexual Abuse (IICSA), set up in 2015 to investigate organisations and institutions that have failed to protect children from sexual abuse.

Rather than do what other thrill-seeking millionaires do — pick out a yacht and fill it with sycophantic staff — Luca built (a small fleet of) his own. Shot in Monte Carlo for McLaren.

Feeling topical despite its 1970’s setting, ‘Funny Cow’ finds Maxine Peake as a female comic trying to crack the male-heavy world of comedy in the North.

Criminal psychologist Julia Shaw and Kevin Felstead from the British False Memory Society use science to prove events that individuals are certain happened are, in fact, non-existent. Their research is helping correct systemic failures in the criminal justice system.

Young talented and smashing records: is Enaam Ahmed the new Lewis Hamilton?

The charity's first national campaign, highlighting how arthritis affects everyone. Shot on location across the UK.

Artwork for the ITV series Fearless, a political thriller by Homeland writer and executive producer Patrick Harbinson.

Some of the esteemed delegates of the fourth edition of Starmus, held in Trondheim, Norway, in 2017. Starmus is a global festival of science, communication and art that brings together the most brilliant minds on the planet

Yaël Farber's retelling of Salome. Click to watch me speaking to The National Theatre about the shoot.

The son of the former England wicketkeeper David Bairstow, Jonny is a combative wicketkeeper-batsman who has become a cricketer to be reckoned with.

Horologist Richard Mille shot in Paris for McLaren magazine. His watches are worn on the racetrack, the running track and the tennis court by the world's best sportspeople.

Shot a month before the 2018 FIFA World Cup, Southgate was surprisingly calm.

London-based Jangala is bringing refugee camps around the world online with its portable Wi-Fi systems.

Could magic mushrooms cure mental health problems? Dr Robin Carhart-Harris, head of Imperial College’s Psychedelic Research Group, on his radical treatment model.

The formidable face of ITV's Summer of Sport.

Artwork for the 2017 World Para Athletics Championships, featuring four athletes who were all destined to win gold, and all did.

Shot in Coventry (where Justin Welby was Bishop) during their centenary celebrations and published on the day of Prince Harry and Meghan Markle's wedding.

An ongoing series on Etna, featuring 'straight' and composite images inspired by the scientific concept of deep time.

A national campaign for The Truth Project, an initiative to offer support for survivors of child sexual abuse. The Truth Project is part of the Independent Inquiry into Child Sexual Abuse (IICSA), set up in 2015 to investigate organisations and institutions that have failed to protect children from sexual abuse.

Shot on location in Glasgow for Wired magazine the Scottish Violence Reduction Unit. The group approached crime not as a law and order crisis, but as a health epidemic, a contagious disease.

Only a short time ago, news was about morning papers and evening bulletins. Not any more. I shot four pioneers pushing the way we consume news.

Interest in historic racing is at an all-time high. Goodwood commissioned me to photograph some of the Members’ Meeting’s youngest competitors.

Shooting the American road trip has become something of a photographer's rite of passage. Here are landscape studies from different trips over the years.

In Fes, Morocco, I shot the men who work behind the scenes in the city's tourist industry.

Entrepreneur First is the only company in the world that builds startups from scratch. I photographed the founders and some of their current cohorts their new South London offices.

Probably the best golf coach you've never heard of, Cowen is a reserved Yorkshireman who coaches some of the world's best golfers. Shot at his academy in Sheffield.

Libby Lane was the first female Bishop in the Church of England. I shot her in celebration of this moment at her home in her home near Stockport.

Trapani, Sicily, whose populations swells twenty-fold over the summer months for reasons you can probably imagine.

I photographed Chris Eubank Jr ahead of his first televised fight, on ITV.

For this contemporary interpretation of Handel's Roelinda, I created imagery using a CCTV monitor, foregrounding the play's themes of surveillance and jealousy for a modern audience.