Steve Razzetti inherited a passion for photography from his father, who was his regiment's official photographer during WW2 and an accomplished landscape and portrait photographer in London during the 1950s. His father's fanatical attention to detail and composition, and his use of several large format Linhof and Rollieflex cameras still inform Steve's work to this day. Having bought his first SLR - a Pentax S1a - whilst still at school, his subsequent Himalayan adventures and career as a mountain guide saw him carrying his cameras to some of the most remote and exotic corners of the world.

Steve's early mountain travels took him to Kashmir and to the Pakistan Karakoram, and he was soon writing and illustrating features for the British climbing press on a regular basis. This in turn led to approaches from publishers, and several books now testify to his ardent wanderlust. From early in his career he worked with some of the world's most prestigious photo agencies, and today his work is distributed by Image State, Getty Images and The Royal Geographical Society.

In 2004 Steve was approached by BBC Publications and asked to illustrate the book which historian and presenter Michael Wood was to write to accompany his BBC/PBS TV series "In Search of Myths and Heroes". This commission preoccupied him for over a year, and saw him accompanying the TV crew to destinations as exotic as The Yemen, Ethiopia, Georgia, and Western Tibet.

Specialising in editorial and documentary work featuring some of the most inhospitable and remote locations imaginable, Steve needs his equipment to be capable of both technical excellence and extreme durability. For this reason, he has relied on Nikon SLRs for many years - a trusted FM2 at first, and more recently, the magnificent F5. He has yet to be persuaded of the merits of digital cameras for his type of work. The nature of his photography often plunges him into months of continuous shooting in extreme conditions, and Steve opts for a good old work-horse film camera. When asked to perform before dawn on the Tibetan plateau in winter, he feels film cameras are far less fussy about slightly depleted batteries, and produce results that are literally breathtaking. With a Nikon Super Coolscan sitting on his desk next to his Apple Mac, he personally feels that the digital world is simply a scan away from his best transparencies.