"When words become unclear, I shall focus with photographs.
When images become inadequate, I shall be content with silence."  Ansel Adams 



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 their 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.

The results are here, available for purchase as prints or framed images. Please enjoy.



In ‘Western’ art and photography each moment in time traditionally appears in a single frame, but 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 tells 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; or an event, like a street scene or a fishing expedition.

Or it may simply add depth to a portrait through varying perspectives, context and point of view.





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.



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, and 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 the approaching storm, before disappearing as quickly as it came.

The word "Nocturne" has long been associated with music as a dreamy, pensive composition for the piano, but it was also used by the American painter James McNeil Whistler as a title for his night paintings. “I often think that the night is more alive and richly coloured than the day,” wrote Vincent Van Gogh — in Arles, where I discovered a love of being free to photograph unhurriedly during the long twilight hours of the summer of 2015.