‘Warped Topographies’ started by accident when I shot an Impossible Project Polaroid and it ejected with faults. It was odd, but also pretty cool. I kept it for about 3 years and then shot another, which similarly went wrong. Another year passed and I kept thinking about what was happening to the images, so did some research about how the Polaroid, now Impossible Project, process works.

The early shots reminded me of natural features you see from drone, aerial or satellite imagery. I got to thinking that if I could disrupt the development process or subvert the final result, I might end up with some interesting imagery.

I started shooting more and more and it has now become an obsession and a big project of nearly 200 images. The Polaroids are manipulated by hand, water, fire or sometimes the camera itself. Some are the result of multiple layers of emulsion lifts.
Along the way I have seen work by Edward Burtynsky, David Maisel and Emmet Gowin which has backed my initial concept that these small world images can be seen as hand made versions of what we see on Earth and other planets.

The Abstract Grasses project started as an experiment in more conceptual photography. A piece of Barley grass and various natural abstract backgrounds all found either in my back garden or in nearby parks and nature reserves.

Most of the images were created in camera using single or multiple exposures. More recent images have taken this further and used Photoshop and Lightroom to combine more exposures, in part to compensate for the two shots in a Multiple Exposure limitation with my Fuji X-T1, but also to keep exploring possibilities.

The pretty coloured houses on the island of Burano in the Venice Lagoon provide a wealth of photographic opportunity. Traditionally you see views of rows of houses all painted in bright contrasting colours.

For this series, I went closer exploring the textures of the crumbling paint and the, sometimes, extreme colour contrasts between neighbouring houses. Walking the quiet streets away from the tourists allowed the chance to explore in depth.

All images were shot with a Fuji X-T1 and a Fujifilm 14mm f/2.8.

Seeing deeper into the Landscape has been a theme over the last two to three years. Rather than the perhaps more tradition, foreground, water, sky images that typify landscape, I have attempted to get inside the view.

Looking at a flat plane of water and seeing a depth of dimension which can be simple or abstracted has allowed a me to explore shallow depth.

Images shot with a Fuji X-T1, an Olympus OM-D EM1, and a Canon 5D Mk III

Dragonfly hunting can be hugely unrewarding. Many of them fly around for hours and never rest. 

But when they do, the results can be wonderful.

A Panel of 15 images that formed my successful submission to become an Associate of the Royal Photographic Society

The showroom manikins of London's Bond Street live their lives, dressing up, posing, and throwing shapes oblivious to the economic crisis. They seem oblivious…