An interview with British based architectural & interiors photographer, Mark Hardy

“I come from a heavy art orientated background. In school I drew cartoons if you have children and are familiar with ‘Tom Gates’ that basically sums up my school life. After failing all but one of my GCSEs I went to art college where I planned to do animation, but somehow thought when I was there I’d prefer to be in a rock band.. (that didn’t work out). I studied music production, before working out that I preferred making the artwork for any music projects.”

Mark is an Architectural Photographer/Creative from ‘sometimes sunny’ Surrey in the UK.

He started his creative journey studying to be an animator, before moving to music production, that turned into graphic design when he began making musicians album and poster artwork, before someone saw a photo which was part of a project and said ‘there was something there’ and he should consider pursuing photography.

In 2008 Mark began photographing houses and worked his way up to shooting some of the UK's largest private country homes for sale until 2020, when he moved to working with other mixed media, combining video, photography, animation, sound etc more exclusively with interior & home trades for their online marketing.

Mark loves trying out different ideas, and feels his creative life is about trying to leap through that window of opportunity as it comes by, if he misses and hits the wall at least he has a story to tell.

He says he currently has many stories to tell but still always gets excited when he sees that window coming around.

Hi Mark, I hope all is safe and well with you and many thanks for taking the time to share with our community. 

Can I say I have been a huge fan for sometime when you first came onto my radar a few years ago.

Can you tell us what has been keeping you occupied recently throughout 2021 and what your plans for 2022 and beyond?

Thanks Pete, that’s really very kind I’m delighted to be doing the interview with you.

2021 was probably the biggest overall shift in my work since I started photographing interiors in 2008. I’d been working with (real) estate agents right up until the end of 2020. Over the years the houses I did got larger and larger, coming to a head in the later part of 2020 when though being very grateful for the work at a time when people were really struggling I managed to build up a 3 month waiting list shooting 6-7 days a week for houses for sale, flattering as it was that some home owners were saying they’d wait for me rather than find someone else it got completely unsustainable at a time when other home industries were reaching out to work with me which had been an aim for years. So at the start of 2021, once it felt safe to re enter homes I completely stopped all estate agent work, drew a complete line under it and took a leap of faith into the future.

It left me feeling very odd throughout the year. Suddenly I had days where I could do the gardening for example without obsessing over the fact it was sunny, it’s taken me a while to recover from 2020 but I’m finally feeling going into 2022 that I can take my time, step back and develop a style I love based around my inspirations, and actually show some work as previously many great projects I’d shot had been for private sales and restricted by NDA’s

That is great news. I’ve had a similar journey with the estate agents, giving up more than 80% of the work and now only shooting the very top end of the market. It has given me much more balance in my work and allowed me to discover my own style.

Could you tell us a bit more about your pasts, your education, ethos and how you both approach your work currently?

I come from a heavy art orientated background. In school I drew cartoons if you have children and are familiar with ‘Tom Gates’ that basically sums up my school life. After failing all but one of my GCSEs I went to art college where I planned to do animation, but somehow thought when I was there I’d prefer to be in a rock band.. (that didn’t work out). I studied music production, before working out that I preferred making the artwork for any music projects.

I went back to art college to do Graphic Design but was encouraged to do photography after a tutor saw something in one of my photos. I ended up studying photography at University, after which I started shooting and selling at a ‘contemporary’ portrait studio. It was the type of place where if you cut the subjects face half outside the frame and blew the rgb curve (to hell with clipping was their Moto.. well at least it would’ve been in they’d had one) to the moon and back you were given praise, very much a factory line too.

I remember one Saturday a photographer was ill so I had to run between 2 studios in the building for 8 hours  pretending to the clients I was taking breaks all the time, it reminded me of California dreams if you remember the 80s tv show where they’d book two gigs on the same day and go between them on roller-skates! which was fine, I understood the assignment… But after 6 months let’s just say I was very much ready to move on.

I got a job photographing houses and drawing floorpans for another photographer. It was a few days training and then a very much ‘don’t screw up’ mentality, somehow I did ok but I would shoot single exposure, all ambient just to get through the jobs and then fix everything in post, not something I’d encourage anyone else to do, however what I learnt was how to streamline my retouching of ambient exposures when others locally were still turning on all the lights and hammering a flash at the ceiling because that’s what they were told to do, which is fine if that’s your bag… but what happened is it made my work different.

I helped a group of estate agents start a photography department in Oxford in the UK in 2010 and began experimenting with video for houses. In 2014 I started a pure property photography company based around how I would shoot weddings (sorry I didn’t mention I also did weddings around 2009-2013). At a wedding I would take quick long lens photos of areas of the venue to help tell the story of the day. I found these were quite popular and gave a ‘feel’ for a venue. I thought ‘I’m not really seeing this in property photography’, at least not in my area. So I started throwing them into my shoots, then suddenly an agent asked ‘can we just have those? We’re willing to pay more for it!’ Suddenly from a business point of view I thought, 

‘So you want me to just do these long lens F2.8-f4 hand held images and you want to pay a premium for this?’ 

Then more agents wanted the same. It was great at the time but like anything I got bored of doing it over time and also it was easily repeatable by anyone else so within a few years lots of people were doing it. In 2017 I went ‘solo’ so to speak I was finding clients wanted me to attend shoots, rather than a photographer I’d employed. I think it was that as the house values and agent commissions of the house I was shooting increased so did their need to limit the risks of the people they were sending to houses. An agent could send me and know what they’d get back would be consistent whatever happened. I’d make it work and I very much saw myself as part of their team whilst I was shooting with them. 

Fast forward to 2022 I’ve moved almost completely away from shooting houses for sale now ‘unless its something special’ and right now I seem to work with a lot of home improvement businesses. I sort of think of the final photos or video I do like how someone would bake a cake (bare with me this will make sense). Every few years I get bored of cooking the same thing I take it back to basics get inspired and make another cake, but in a completely different way, I find doing that is what gives me that creative buzz that excites me about jobs. 

I have this ethos I very much embrace I think I heard a founder of a business on a podcast once called ‘How I built this’ it went along the lines of  “If I’m in a room of people and everyone in the room has the same idea about how to do something except for me who has a completely different idea, I’m either the smartest person in the room, or the dumbest person in the room, but either way, I like those odds!” I mean you have to have some conviction in your idea, but I love trying, even failing, and trying to work out how I can try again until I hit on something.

I think the estate agent route is quite a common one for many aspiring interior and architectural photographers in the UK. Although at the start it would seem rather unglamorous, it is a great way of learning your craft, work ethic, work flow and networking. I would say that it got me in front of many of the architects and designers I now call my regular clients.

I remember when I first moved to Bath over 10 years ago and thinking that the marketing was very old school and that my London clients were wanting a more ‘editorial/lifestyle’ approach to there images instead of the very wide angle shots from every corner they sometimes get criticised for.

I think inspirational sites like ‘The Modern House’ have changed their views…however some continue to plug away with lights on/wide angle/overexposed images…

How do you go about getting work and what do you find is the best solution you've found?

That’s the million dollar question isn’t it! There is an element of being ready to jump through the window of opportunity as it passes, but I’ll be honest, I’ve missed or been too afraid to jump through that window more times than I care to mention. I seem to like to make things more difficult for myself than they need to be!

How I get work has changed a lot! Over the years previously ‘I’ was lucky, a photographer was shooting the home of a celebrity and was caught taking pictures of their personal things with a mobile! I didn’t know this at the time but I was sent in because as a call from the top of an estate agent chain said  ‘just get someone else over there to try to fix the problem’. I went and had absolutely no idea who the celebrity was, or that it was a celebrity! To me it was just a big house in my local area I was being sent to. It was just myself and respected the fact I was in a home, did my job, had a nice chat with this person and left. The agent was really happy and the client (I won’t say who it was) told their friends they should use me when they came to sell, so I ended up getting into a circle of shooting public figures houses, and agents loved me because obviously they wanted these clients and I was the clients photographer of choice. I’d definitely call that a stroke of luck.

Um…you’re such a tease…you have to tell us now…

The flip side is because I’m very private no one would ever knew it was me doing the photos outside of the agents, however in terms of getting work, the jobs would just come in without me having to reach out to anyone or advertise.

Since stopping shooting houses for sale, I don’t have that advantage so instead if there is a client I’d love to work with I think if they have a problem I have a solution to..

Nice…

If someone has photography or video and it’s working for them and I can’t see a problem they have I can offer a solution to I tend to move on. Thinking like this also leads me to a lot of upsells on jobs. So If I’m working with a kitchen company, and the content is for social media, and ask “have you thought about video? It does a different job to photography, do you want to do reels on Instagram? How about a small animation from stills set to music.” It doesn’t have to even be that different, if I notice a client does a lot of behind the scenes posts, how about some stills of this, the construction part of the kitchen? Anything that tells a story. 

Most of my work, if I’m honest right now comes from Instagram. I don’t have a large following but what I do have is an agreement with clients that they’ll credit me when they post, this credit then flags on my Instagrams and I share it to my stories, so my client gets exposure and so do I.

The funny thing about Instagram is the amount of businesses who follow similar businesses to themselves so they see content they like they can see who created it and though we’re not talking thousands of likes what is happening is very focused marketing. This results in regular dm’s from new potential clients.

Right now this is what works for me but next year who knows! I think the key is be mindful, look at what solutions can be offered and think about the best way to communicate this to the world without just seeming like I’m sticking my hand up in a sea of creatives hoping to be seen.

Mark, we are so alike! My path took me through the top end houses in central London in areas such as - Mayfair, Park Lane, Sloane Square, Kensington, Chelsea etc…I also have a similar way of marketing myself and getting work as you do. Word of mouth builds up over time with consistent work and Instagram has been a great source of work over the past few years.

Where do you see the future of photography heading, not only in our genre but as a whole?

I think photography will carry on as it has. Before digital we had black & white, Sepia, slide film, cross processing, liquid light, darkroom techniques for composites, things are still the same it’s just the execution and end of use of the images are different now.

Still photography will remain because it ‘solves a problem’, it delivers a message that is still in demand in one way or another. What I can see happening is the potential for creatives to take ingredients from different mediums and create something unique. For the cost of a monthly subscription with Adobe for example you have access to combine 3d, graphics, photography, illustration, video, special effects, and with the tutorials available for free on places like YouTube you can create something truly unique for you - going back to my making a cake analogy.

Before we had the basic ingredients to make a cake, imagine you now have access more ingredients and better cook books than you can ever imagine! You’ve learnt how to make that first cake now you can experiment and create something no ones ever seen before, that’s how I think photography will evolve for those who want to embrace it, it won’t be classed as anything other than visual art, no rules, no limits, for clients solutions to problems they didn’t know they had.   

The artist César Manrique said he was always surprised when artists pigeon holed themselves as ‘a painter, a sculpture, a photographer, a film artist.’ It was this way of thinking that held them back as an artist in its truest form - “CREATING IN COMPLETE FREEDOM, WITHOUT FEARS AND WITHOUT RECIPES, COMFORTS THE SOUL AND OPENS THE WAY TO THE JOY OF LIVING.”

What is the interior and architectural scene like where you live and is this where do you do most of your work?

I think the ‘modern’ interior scene here in Surrey (below London) is very much in its infancy. The world has obviously changed a lot over the last few years and its lead to opportunities for people to change jobs and professions. I see a lot of very talented people suddenly realise they they could expand beyond designing their own home and are becoming interior designers and stylists, and doing well for themselves, building followings on places like Pinterest, in blogs, or other costal media platforms, doing their own marketing which obviously leads to work for people like us.   

I couldn’t agree more. There are some new and very exciting designers coming out from the ‘social media’ age who are fearless and very hungry. I find these types of clients very stimulating as they don’t have the ‘traditional’ methods or training or work flow as the more established clients. Also, they are the ones who have reached out on social media for work.

As a photography community we love a bit of gear talk, could you tell us what equipment you have in your bag and enlighten those who aren't familiar a little bit more about your process and editing.

I’d like to say my bag is neat and organised… but the reality is it’s what I’d call ‘organised chaos’. Once I have something that works I tend to stick with it or adapt as needed, so My Nikon D850 is superglued at the back, with an old school vertical view finder attached hanging off it, and the port section flap completely ripped off (it just got in the way) to give better access for tethering etc. I shoot Nikon for stills because ever since the D3 I’ve loved their colour science and how the cameras deal with noise and dynamic range.

I have random clamps and batteries floating around in compartments of my bags, extra bags attached to the side of my tripods. I’ve found the things that work best for me are those things I’ve adapted. For example my tripod has clamps on the legs that hold lights, and a bag designed for the crossbar of a bike wrapped around another tripod leg, to hold batteries, lenses etc. What I do find is that when I need something I can just grab it.

Video wise I work on a Panasonic S5, with Edelkrone sliders for detail work or if I need a move repeated to them layer up in software later. I also have the standard DJI gimbal. I’ve recently change my drone to a DJI Mini 2 which is the most insane value fantastic little thing I’ve come across in a while. Its 4k, and 12 megapixel stills. Its a small sensor but the results are fine for the type of work I use it for.

I’ve recently also started using the I-phone 13 pro for creative B-roll video work, it can shoot pro-res and because of its size opens up a world of possibilities for creative moves for example moving up between banister rails, just things I wouldn’t have been able to do before. I’m not worried about the fact its a phone, its a tool, if it does the job I need and I’m confident in the results. I’m happy to try it and my clients are happy to come on that journey with me.

Editing is what really gets me excited, it starts on site. I shoot to a surface pro using Tethertools air direct which sends raw files wirelessly directly into Capture One so I can start the editing process at the time of shooting. When I get back I move all the files to my Mac and carry on from there. I don’t use a mouse and haven’t for about 10 years I use a Wacom tablet. A retoucher told me years ago once you get used to a pen and tablet using a mouse feels like drawing with a boxing glove on.

Obviously this doesn’t run true for everyone but.. yeah keyboard shortcuts and a tablet is fine for me. My process changes as my style does, right now I’ll do a lot of lighting on site, maybe I’ll do some colour correction on the Mac but then export then almost as they were shot as full size tiffs from Capture One, open them as layers in Photoshop and most of the time put them in lighten mode and paint in what I need with an ambient as a base layer. I then take them back into Capture One for a final pass through and proof (depending on end use), and then export the final jpgs.

For video I work with Final Cut Pro, just because… I’ve just always had it, and got used to it. I sometimes get a little frustrated with the grading options compared to Da Vinci Resolve but I’ve found software called Colour Finale that helps. There are so many amazing plugins for Fcpx that I’m of the mind set - if it works, its quick and there are extended options to explore. I haven’t touched on yet like Apples ‘Motion’ 

I’ve been loving your video work recently. Your clients must be very happy and excited by what you’re producing. With all these things there is a journey and I can only see you going from strength to strength with your video work. I’m still a little early on my video journey, but as more clients ask me the more confident and comfortable you get.

Do you feel that you're happy with the work you produce?

Sometimes…

Normally how happy I am is very much related to the amount of time I had on site to produce work. Sometimes everything will be dressed and ready in a room, I have as much time as I want. I can shoot analyse, adjust, and then move onto the next shot.

However.. most of the time I’m working in people’s homes so I’m working around the dynamic of their lives. This can mean though everything had been planned something changes and I have to adjust my timings, or I turn up with an interior designer and the home owner has taken down and completely changed that designers work, so we have to quickly try to put things back as they were, or they have to run back home or to a store to get something for the shoot they weren’t expecting, so unless we reschedule I just have to make it work and keep smiling / keep everyones confidence and vibe high.

Retouching wise, I have to sometimes check the final results on various devices. Because I work with a linear profile from the raw and I prefer everything to be darker, the images can be quite flat. I do step away and come back to them but sometimes its only when you see them on social media against a white or black backdrop you think “argh I should’ve given those white highlights more of a kick’ but at that point you’re on the verge a not entirely healthy mindset, so I’ve learnt to accept it, try be more mindful next time during the edit and move on… so much easier said than done!  

Haha…that is so funny I do exactly the same…is there such a thing as the perfect white balance when people are viewing your images online through so many different devices?

Do you have any advice for aspiring photographers to keep motivated and pushing yourself forward?

Be inspire, get inspired, surround yourself creatively with images of what you want to aim for and make it happen. For me it used to be magazines. I’d pour over Elle Decor and Enki, when I had readily (which is a digital magazine subscription) I’d zoom in and try to work out how the images I loved were done, I then preferred the print versions, so started ripping out pages, putting them in the front of my car and about 10 minutes before I went into a job I’d just stare at them, getting myself inspired, hoping I’d have the chance to do something similar to these pics I love! Today this happens more on Instagram. I cut down the people I followed to show more of the work I loved in my feed. I have an inspiration folder and when I see something I love I save the image/s to it. And I revisit these, again when I’m going into a job. 

With regards to keep moving forward… listen to your gut.. so many times when I was doing photos for estate agents I’d have photographers wanting to have coffee with me and the common theme (apart from how do you get work and how much do you charge) if I spoke to them about my ideas was “You can’t do that!”. I learnt that when I was excited about an idea and I heard people telling me I shouldn’t do it.. I knew I had to do it, even if I did and it failed, it would take me down a path that strengthened my unique selling point (which was that I am the only version of me).

If everyone’s doing the same thing, a client comes along (and at this time doesn’t know the personalities of the photographers they’re looking at) they see the same styles across photographers and can’t distinguish the value of each of them because the images look the same, they’ll go for the next thing that might be important to them to help them make a decision, which might be budget. Then you get into a price war and get a job based on how the client sees your value based on the fee. Where as if they can’t get what you’re offering anywhere else the decision to hire you isn’t so much placed on how much you cost but rather how what ‘you’ do can add value to their brand, which I think is a far healthier long term place for everyone to be.

I now have this image in my head of you just sitting alone in the your car…. just staring….

Having a chance to push yourself and evolve is key to our personal development. I think you have to move forward and always take the chance to do something that your gut says is right. Like you say, you may fail but you’ll have a lot of fun along the way and learn something too.

I’m similar with following photographers I personally love. Andy Macpherson and Anjie Blair have been huge influences on me personally and it has been amazing to chat with them as they share their workflow and wisdom. A bit of a pinch me moment.

Obviously I love everyone’s work that I interview on M.mode, but those two were definitely the first that caught my eye a few years ago and got the ball rolling for me really pushing myself out of my comfort zone.

I think we should talk a bit about copyright.....How do you go about educating your clients about licensing and is there anything we can be doing better to inform our clients better?

Wow that’s a hot topic. I came from a very unhealthy place with this going back 13 years. The absolute bottom of the barrel, I was using credit cards I had no business having to pay off credit cards.

I was selling my camera equipment to keep going and hoping I wouldn’t need / could find ways around having to use at my next shoot what I’d just sold. So when people say ‘I just give them what they want they can do anything they want with the photos, I just need the money’ I completely get it, it’s like when you’re super hungry and your stomach wants sugar, its not good for you, but you kind of understand why that’s happening it just needs a quick fix to keep going.

With what I was shooting previously I’ve had ‘a lot’ of times where my images are used all around the world in articles about a celebrities house and it would often say ‘copyright RightMove’ because they’d rip the photos directly from sites, or I wouldn’t flag things like this or ask for credit as I’d be worried that by doing so I’d give the impression that I was the one who leaked the photos. I bought an F-stoppers tutorial a few years back ‘Making Money with Monte’ where he sits down and goes through the whole copyright and usage thing, it completely changed how I look at things like this as I was moving in the direction where it was becoming more of a potential issue. 

What I do now is before a date is agreed for a shoot I go through the keys points , fees, payment terms, and conditions of usage in a long email and make sure everything is agreeable to all parties before anything is put in the diary. Then, before any sort of contract has been done everyone knows exactly where they are and they have a very easy opt out or chance to ask questions at the earliest stage.

Agreed, I think it is best to be up front right at the start about usage rights etc. It still doesn’t seem to matter with certain clients who just send them out like wild fires to other clients on their jobs. I’ve had to be bad cop recently and ask clients to remove my images or pay….felt quite good actually as if I was taking back control.

Where do you draw your inspiration from and how do you go about creating your stylised look?

Inspiration mostly comes from social media these days. There are some key photographers I flag so that their images show up high on my feed. Strangely the ones I get most inspired by don’t have the hundreds of likes and thousands of followers, they’re just people who’s work kept stopping me scrolling and I noticed I was saving a lot of their work to my inspiration folder.

That’s why I set up M.mode to give all these incredible photographers a platform to share their portfolio and experiences irrelevant of the number of followers.

Video I’ve not quite found that place yet. I get more inspired with transitions and effects rather than styled looks. I’ve always really enjoyed trying to deconstruct how something is done. It goes back to my university days when I couldn’t afford to process colour film for my projects so tried to get away with scanning negatives and found ways to make it look like a final printed film image but actually it was digital.. This constant problem solving meant I can now mostly find a way to get close to where I want to visually be then I just experiment on shoots until I get something that feels more like mine.

I do find a lot of techniques I used for editing photos help when grading video, you can layer video and change blend modes  in final cut just as you can in photoshop so its just a case of adapting to a moving image rather than a still one.

I'd love to pick your brains about your colour grading as I’m loving your video work and I’m just getting into more these days.

Do you have a favourite thing you like to shoot and why?

I seem to shoot a lot of kitchens, I do love doing them. I think because there’s so much to one room like gadgets, awesome pantries, great lighting, I get quite excited when someone opens a cupboard and the inside transforms like some sort of amazing toy but with the practicality of adult living.

In more general terms I like country homes, dark wood, dark colours, gradients of tone and light. Sometimes I’ll walk into a room and its really dark with just a really strong light coming through a small window across the scene and I’ll be like ‘Oh yeah!’ Not to be too over the top but if interior porn was a thing, that's what it would be. 

Who doesn’t like a dark and moody room…

What would say the highlight of your career would be to this point?

I know I should say something architectural based, or a public figure who I really admired who’s home I’ve photographed (though I obviously couldn’t mention them by name), but if I’m really honest I’d have to go way back to 2003, only because that it was a really big deal to me. 

At the time I was moving between music, graphics, and photography. I thought maybe I wanted to be a music photographer. My favourite band Silverchair who I’d been to see every time they were in London since like 1996 were playing touring with their new album. Anyway, I was very young and a bit cheeky so I hunted down phone numbers and emails to see if I could get a photo pass, I found out I had to be shooting for a magazine, so I won’t go into details as its a long story but I kind of… made it happen.. lets just say that..I went up with rolls of film, My Canon T90 and Canon Ae1 all manual focus glass and in those three songs I managed to shoot pictures I’m still proud of today, all in focus the lighting was great, lord knows how I changed so many rolls in such a short time.

I still have one of the photos on my wall today as a lesson of no matter where in the world you are, how ridiculous a journey seems, with some luck, hard work, and smart working you can solve most problems. Life is about leaps, sometimes you fall, sometimes you go to leap through that window of opportunity as it passes and leap smack into the wall instead, but at least you have a story, you can laugh and the next time you try you might just make it.

Do you have any favourite photographers that inspire you and anyone you think we should be keeping an eye out for?

Oo so many, obviously yourself, but also because you’ve built something like this and come such a long way in such a short time :)

Stop it…

The two photographers though that keep coming up when people ask me this recently are @kaku540678 who posts a lot of personal content these days but who when you go back through his work is a ridiculously talented interiors photographer, and @olivergrahame who has developed the most amazing flash technique for interiors thats incredibly consistent and clean.

When I saw it the first time I was like ‘dude!..’ I just know when I see something different, I can imagine them delivering the work to a client and if I were that client I’d just be blown away. The thing about these guys as well is they’re not those household names one might expect with thousands of likes and follows its just decent consistent work thats a joy to see.

I’ve been watching Oliver do great things and has come a long way. He certainly is owning that blending flash layer technique!

Lastly, what have you learnt and taken away from the past years events?

Mmm, it has been an interesting experience. When we locked down in March of 2020 I had two weeks of not shooting, then as I couldn’t work from home and we’d hit the most amazing spring I was out shooting exteriors, though of course it had a huge effect on income compared to what a normal springs work might look like. I was left feeling so incredibly grateful that I worked in a creative space which still had any work at all.

I’m sure like everyone I saw businesses around me going under, people having to sell their homes and I felt a huge amount of guilt of not being worthy of this work, because I can remember times of despair of having absolutely nothing, not knowing what to do just seeing no way out, yet here I was on the other side of things and it felt nothing like I thought it would.

The thing was, because I felt so much guilt I didn’t think I could say no, I mean ‘how dare I turn down work when there were people struggling’. It’s a dangerous trail of thought as it lead to burn out like I’d never experienced. I was shooting houses the size of which I’d never done before, getting all the praise I could ever have dreamed of from my clients, but I just wanted it all to stop… and I couldn’t work out what was wrong with me to feel like this.

So I tried to look after myself a bit more and to say no and not think that if I did I would go back to 13 years previous, and even if it did… it would be ok.. The sun would still come up I’d still continue to breath and that no matter what I’d find a way, and it was this thinking that made me knock on the head almost all the estate agent work I’d been doing and pursue the projects that really excited me, and thats kind of where I am today. 

Amazing. Thanks Mark for your time and energy, it has been a pleasure. Keep up the great work and keep inspiring us all with you wonderful portfolio.

To see more of Mark’s work click on the following links - Website - Instagram