OXFORD

This collection of black-and-white photographs was compiled between 2005 and 2012 in the city of Oxford, while I worked at the local photo shop, Snappy Snaps, on Cornmarket Street. I used my free time—in the early mornings, over lunch breaks, and in the evenings—to wander the streets of Oxford, exploring the rhythms of everyday life through traditional street photography.

I was drawn to the quiet poetry of the city—the movement of people through its storied streets, the way light traced walls and pavements, and the fleeting moments framed by its architecture. The series explores moments of stillness and subtle intensity, capturing the small, often overlooked gestures that give the city its life, both by day and under the soft glow of night.

Morning Mist

Morning Mist is an ongoing black-and-white photographic series capturing the quiet, ethereal beauty of Abingdon-on-Thames. Under a soft veil of fog and mist, the town transforms into a serene, almost otherworldly landscape, where light and shadow play across the river and streets. The series lingers on fleeting moments—reflections, silhouettes, and subtle shifts in atmosphere—inviting viewers to pause, reflect, and experience the calm poetry of everyday life along the Thames.

ZDAR BOH

Colour Vignettes

Colour Vignettes is a series of photographs made in the UK and during my travels abroad. Working within the tradition of street photography, I am drawn to the quiet choreography of everyday life—moments shaped by people, light, and architecture as they unfold in public spaces.

Each image lingers on subtle rhythms, textures, and fleeting details, revealing the quiet beauty woven into ordinary scenes. The series traces small, often overlooked gestures and compositions that give each moment its own presence, forming a personal visual diary of places encountered through both professional work and personal journeys.

Supporting Artists

Supporting Artists (SAs) are an essential part of any film or television production.

Famously brought to public attention by Ricky Gervais’ TV series Extras, SAs form the backbone of large scenes, whether on location or in a studio, bringing depth and realism to every frame.

For an SA, filming days and nights are notoriously long, with early call times for hair, make-up, and costume checks, plus time spent de-rigging once filming ends. Complex scenes, such as large-scale battle sequences, can require days or even weeks of ‘boot camp’ to learn military drills or weapon-handling skills.

Long hours, waiting between setups, and the physical and mental demands of the set take their toll. Yet SAs must always be ready to perform at a moment’s notice.

When I am not photographing principal actors, I have become fascinated by the ways SAs carve out small pockets of time for rest, reflection, or connection with the world beyond the set—finding moments of humanity amid the controlled chaos of production. This is an ongoing project, and I am always observing SAs on set, curious about what they will do next.