"Your first 10,000 photographs are your worst."  — Henri Cartier-Bresson


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W E L C O M E

pictorial photography

The images in these collections reflect my interests as a photographer and artist: countries, landscapes, cities and people. What they share, apart from the love I have for the subjects, is that they're all composites of multiple photographic files in the same frame. I use this technique to create multi-faceted street scenes and panoramic landscapes, and — uniquely — to create portraits and tell stories in which the subject can appear multiple times. Please enjoy.


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A L L E G O R I E S

narrative photography 

Movement adds meaning. In ‘Western’ art and photography each moment in time traditionally appears in a single frame. Still, I've long been fascinated by artworks in which characters appear more than once, to tell a story. A favourite of mine is ‘The Tribute Money,' a fresco by Masaccio, which recounts a story about Christ and Saint Peter.

Sometimes you may need to know the larger story to appreciate the image, as in the case of Peter. But in most of my work, the narrative will typically illustrate a relationship, perhaps between mother and child, a small boy break-dancing for his mother, or an event, like a street scene or a fishing expedition.

Or it may add depth to a portrait through varying perspectives, contexts and points of view.


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F R A G M E N T S

cityscape photography

These may seem simple French scenes at first glance, but a closer look says otherwise. They're all composites of multiple exposures shot from different viewpoints to capture the paraphernalia of the city and the lives of people going about their daily business. They reflect particular moments in time — my personal experiences over many visits to, and travels around, France.

This collection was inspired by the Cubist paintings of Georges Braque, and also Pablo Picasso in his Analytic phase. These two artists drew on multiple perspectives to create images that feature snatched, multiple glimpses of everyday objects — a new way of thinking that went beyond the conventions that had dominated European painting for centuries.


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N O C T U R N E S

night photography

I’m fascinated by the transitions between light and dark, day and night; and by the view across Whangarei Harbour from the West-facing balcony of my studio. At day’s end, the light changes rapidly, often in seconds. In my studio a camera sits on its tripod, waiting. For a few moments late-afternoon sunshine bursts through the clouds, and a dynamic sunset, complete with foreboding clouds, heralds an approaching storm before it disappears just as quickly as it arrived.

The word "Nocturne" has long been associated with music as a dreamy, pensive composition for the piano, but was used too by the American painter James McNeil Whistler as a title for his many paintings of the night.

Vincent Van Gogh to his brother Theo, In think from Arles, “I often think that the night is more alive and richly coloured than the day.” 

In Arles too, I first discovered my love of being free to photograph, unhurriedly during the long twilight hours during the summer of 2015 and later in the streets at night.


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F I N E  A R T  P H O T O G R A P H Y

black-&-white photography

I was introduced to black and white photography in the mid-sixties, in my first year at university, my first camera was an SLR Russian-made ‘Zenith.’ While I was intrigued by what appeared to be the role of technology, an apparent lack of spontaneity and my difficulty in mastering the sequences needed to create a black-and-white photograph, I eventually acknowledged that photography was not to be a natural part of my artistic practice - I was a painter. 

 


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S T R E E T  A R T

Noailles - Marseille, France


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I N S T A G R A M

postings 

A selection of photographs posted these last three years.


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F O R M A T I O N S

New Zealand landscape photography