In the mid 90s, when I completed my MFA studies at the School of Visual Arts in New York, I went to work as a personal printer for some of the photographers I admired most at the time.

First for Patrick Demarchelier, working on his fine art exhibitions. Then I printed books and exhibitions for Lois Greenfield and subsequently for Gilles Peress. Soon after I had stopped working for Gilles - to focus on my own personal work - I got a call from him.

He explained that Rosalind Solomon had just returned from Johannesburg and needed help printing a portfolio. I confessed I didn’t know her work. Gilles said it might be an interesting experience for me to work on her images.

That was an understatement. To step into her world, to become intimate with her work, to spend time with the artist, it was all a revelation.

Rosalind came to photography later in life but she left an indelible mark on the medium. She was a true visionary and one of the most uncompromising artists I’ve ever met. She held herself - and all those she collaborated with - to the highest standards.

When the portfolio was done, we still kept in touch. Sometimes, if I was passing by her Astor Place studio I would ring her doorbell and come up to see her for a bit. Other times, I would bring a bottle of wine and settle in for a longer conversation.

In her later years, Rosalind became more and more interested in the human voice. She embraced both writing and performance as part of her practice.

What a legacy she leaves behind. And how sorely she will be missed.