Monument Valley

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Between the ages of 8 and 15, we lived in Sri Lanka, where , at the time, there was no TV, so going to the cinema to watch the latest movies out of Hollywood was a regular part of our weekly routine. The movies that we all were most excited to see were the westerns. The Good The Bad and The Ugly,  in fact anything with Clint Eastwood, Chatos Land with a non speaking Charles Bronson, John Wayne, Allan Ladd, and so many more. So it was with much excitement that I finally visited Monument Valley. I had been speaking at the WPPI conference in Las Vegas, and at the end of it, my friend and fellow photographer Peter Eastway and I hired a car and set off to explore the 4 corners region around Arizona, Utah, New Mexico and Colorado   This one area of Navajo land was the set for so many of the epic Hollywood blockbuster westerns that I had grown up with. It had all the elements that the movie executives thought were required to set the scene, and in the process helped form a very clear picture in the minds of the world of how the American west looked during the time of Sitting Bull, General Custer and the Wells Fargo stage coach ( I can imaging it now tearing up the road, chased by a band of Indians on palomino ponies with the horses at full gallop and the wheel looking like it might fly off at any second! ) We arrived before dawn ( as all good photographers should!) only to find that there was a gate and an entry fee and worst of all, the office didn’t open until 8am, long after the light was of any use for photography.  Luckly for us this had obviously happened before, and waiting patiently at the gate as this lovely Navajo guy with a van who offered to take us in via his village and give us a tour of the area.  The asking price was fair and we had an amazing tour of the area, along with expert commentary. The images we got were just what we had hoped for so much so that we decided to hire him again the next day, start even earlier and get to some of the other stops in this great landscape.  John Ford Point, named after the famous western movie director gave us a stunning  sunrise, and it was so obvious why they should want to shoot movies in this wonderful location.  For all the pictures that I got over the 3 days that we were there, the enduring memory for me is a moment when I found myself all alone in this landscape. The van and guide where down by the road, Peter had wandered off to photograph something and I looked around and all I could see was the desert, the rock formations and the clouds above me. At that point, I realised that recording everything on my camera was going to be impossible so I put my camera down, lay flat on my back in the cool sand, and soaked in the  experience. 
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An image reminds us of who we are,

Photographers-deal-in-thingswhich-are-continually-vanishingand-when-they-have-vanished-thereis-no-contrivance-on-earth-whichcan-make-them-come-back-again.Photographers-deal-in-thingswhich-are-continually-van_20180727-023604_1

who our family is and why the bond is so strong.

The fact that I get invited photograph peoples families is a very humbling thing for me and I take the responsibility and trust that these families have put in me and my skills very seriously. To capture the essence of each member of the family , and then to make an image that describes what it means to be a part of this family unit is a big responsibility , and over the years I have worked hard to hone my skills to a point where I can now deal with just about anything.  You can’t rattle me, not even with preoccupied Dads , opinionated 2 year olds , or 6 month old labradors    (Although I would prefer that they don’t all happen at the same session! ) The secret for me, is to engage with each of my subjects on their terms, and to give them enough time and space for their real personality to shine through - I get told a lot that I am a patient man!I believe that what we do is important, and the results of our work, the images, will grow in importance every year. In 2 years time, in 10 years time in 100 years time , the single moment captured will take on more and more meaning. It is therefore vital that the photographs we produce are made in such a way that they can stand the test of time, and that their archival integrity remains intact over time.In this age of selfies and snapchat, a beautifully shot, archival produced art print is a rare thing, but that’s okay , because the  true moments  that describe a relationship and which form the basis of memories are equally as rare to capture in a single image - its something I have been training for my whole life.

 

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Faces of Launceston


Faces of Launceston is a photographic project that I have been doing for the last 19 years. This TVC was from the 206 exhibition that focused on the Next Generation - the young people who are doing good things with and for the community

 

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Slices of Life - Generations

Generations

 

 

 

Why not organise an extended family session, all the kids, the in-laws and the outlaws, the grand kids, cats and dogs. What a wonderful way to record your family with all the joy and enthusiasm that being a family brings. This is not normally a quiet peaceful session, rather it is more like a whirlwind that smashes its way through the day, but then, that’s what families are like - aren’t they? A great chance to make a number of the stages of life images in the one session, and to explore those special bonds that develop within families

 

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Slices of Life - Pregnancy

Slices of Life - Pregnancy
PREGNANCY
 
Chicken or egg? Start or finish? A life in portraits starts with pregnancy. Those first images before the birth day, the obvious bond between mother and her unborn child,
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Slices of Life - Family

Slices of Life - Family
FAMILY
 
Family portraiture captures a moment in time. For your family now, and for generations to come. The images that we take
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portrait blog

portrait blog

For years now I have been shooting all of my portraits in classical, elegant Black and White. This medium cuts through the camouflage of colour. In order to be successful as an photograph

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