cameron.

co-owner, and the least experienced tattooer in the building — a couple of years in, which you would not guess from the work.

his work is black and grey realism at scale: greek and roman statuary, egyptian mythology, full sleeves designed as one composition rather than a collection of separate pieces bolted together. carved stone is unforgiving to draw and worse to tattoo — get the light wrong and it reads as a drawing of a statue instead of the statue, so most of the work happens before the machine ever starts, in getting the shading logic right on paper first.

he'll map a full sleeve out as a single piece before the first session, working out where the composition breaks across sittings so nothing looks like an afterthought bolted onto the end. that planning stage runs longer than people expect for a first consultation, but it's what stops a multi-session sleeve looking stitched together once it's finished.

he's just as good small. tight portraits, single animals, detailed pieces sized for a forearm where every millimetre has to earn its place — the same realism standard, just compressed. if anything the small work is harder, because there's less room for the eye to forgive a soft edge or a slightly flat transition.

a session with cameron is methodical — he checks in on likeness and proportion before committing to shading, since that's the point where a realism piece is easiest to fix and hardest to fix later. on a bigger sleeve, each sitting has its own clear goal rather than just picking up wherever the last one stopped.

currently taking bookings.

see cameron's work in black and grey and fine line.