About My Work

Photography, and especially working with hand coated historical processes provides great satisfaction in the creative process, seeing a possibility and then turning that possibility into something that satisfies me. I believe I actually don’t make images for others but for myself. I am always fascinated by how a 3D colour world translates to a 2D monochrome image. The task I find very satisfying is trying to instill the depth, mood and emotion of the original time and place into a still image.

My main subject focus has always been landscape. To me landscape presents the most challenges, as it can be fleeting, unstructured and uncontrollable. Blink and you may miss the “defining moment”.

I rely on no one process or technique, moving from film and silver gelatin prints, to digital imaging, inkjet prints and alternative processes such as Ziatype.

Once my inspiration was Ansel Adams, and although his work is powerful and I still marvel at his technique and enjoy it, I now am impressed more by the contemporary photographers, such as Mitch Dobrowner, for his exquisite images of the US Southwest, “The Still Earth”, or Tyler Boley, for his “Landscapes of the Pacific Northwest” or Neil Folberg’sCelestial Nights”.

But there are two photographer’s work that has been my inspiration the longest is Brett Weston, who always seemed to strike at the basic patterns of his subjects, whether the nude, droplets on a leaf, lichen on stone, cracked paint on a wall, desert sand dunes, or sunlight filtering through trees, and Edward Steichen.

Perhaps their work and that of Dobrowner, Boley and Folberg provided me the inspiration for my latest project “Mist”. Mist has occupied my mind and energy for the past four years, exploring an area some 100 metres by 100 metres, constrained in size and time but with almost limitless opportunities.

Mist explores intimate places using light and shadow to present images that will provide and provoke the viewer on a journey in a different and new light, light dappled through forest, light illuminating a path to follow, secret places along the way, leading to where?
Each image in Mist captures an instant in time, an instant that can never to repeated or captured again.

Henri Cartier-Bresson once stated, “To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.”

Fog and mist are integral to the images that form Mist. They are kinetic, they change form, and are temporal, providing for an ever-changing environment with which to explore.

All of the images in the Mist series were created using both film and digital cameras and printed using a Palladium Printing-Out-Process developed in 1998 by Richard Sullivan that has an historical link to the very beginnings of photography. Sullivan named his process Ziatype, Zia being the Anasazi Pueblo Indian word for Sun. All prints are hand-coated on 100% cotton rag paper and then contact printed under UV light.