I photograph people, weddings and slow cities on film — developed in my own sink, marked up in grease pencil, printed by hand. This is the working contact sheet. Click a frame to loupe it.
Every commission ends on paper. Fibre-based, selenium-toned, margins left wide for pencil — because a print you can hold outlives every hard drive I have ever owned.
I started shooting film in 2017 when a borrowed Leica jammed a wedding and forced me to slow down. I never went back. Digital is brilliant; it just isn’t how I see.
Working on film changes the sitting itself. Thirty-six frames means I watch you instead of a screen. There is no preview, no “one more just in case” — only attention. Weeks later you get a contact sheet with my grease-pencil marks on it, and the frames we choose together become prints.
The darkroom in Anjos is where the second half of the work happens: developing, proofing, dodging, burning, toning. If you book a sitting, you’re welcome to come watch your print come up in the tray. Everyone gasps. Every time.
Safelight on · do not open the door€340portrait sitting · 90 min
€620couples & editorial · half day
€2,400weddings & documentary
Film, chemistry and printing paper included in every rate. Travel beyond Lisbon billed at cost — I take the train when I can, film hates airport scanners.
“Mira shot our wedding on eleven rolls and we didn’t see a single image for a month. When the album arrived it felt like being handed our memory, not a hard drive.”
“She works slow and it shows. Ninety minutes, thirty-six frames, and the portrait on my record sleeve is the best photograph anyone has taken of me.”
“The contact sheet alone was worth the fee — watching her cross out frames in red pencil and circle exactly one. That circle is now framed in our office.”
Tell me what you’re after — a portrait, a wedding, a story that needs a slow eye. I load two commissions per month so every negative gets darkroom time.
● Booking Sep–Nov 2026 · Lisbon & anywhere the night train goes