Communication Arts 2024 - Winning Photograph of Milford Sound

I’m delighted to have just had work selected for the Communication Arts 2024 Photography Annual No. 65.

The winning photograph was made in Milford Sound in November of 2023, while on a trip to New Zealand’s South Island.

For many, many years I’ve wanted to visit New Zealand, and in particular the South Island, so when the opportunity presented itself last year, I didn’t hesitate.

There are a large number of iconic locations in the South Island and so in no time at all a ‘road trip’ was put together with the help of my good friend Chris Lewis, which I’ll talk about in more detail in a future blog post.

Of course Fiordland was a key segment of the trip, and in particular Milford Sound.

I’ll be honest, when I finally arrived there, after much anticipation, I was a little surprised at just how busy it was. It was not at all what I was hoping to experience. But… after 16:00, when the tourists head home, a wonderful calm descends over the place and you feel quite alone. The same thing occurs at dawn, as the tourists don’t descend until around 11:00. There is a magic and a peace to the place that leaves you feeling in awe of the cathedral like surroundings.

The photograph you see below was made at dawn, before the sun hit the top of Mitre Peak (to the left) and as we were treated to a display of low cloud and mist, which slowly moved through the fiord as the tide receded.

If you look closely you’ll see two female Mallard ducks standing in the shallows. One was feeding while the other cast it’s beady eye on me. As I was on a 4 second exposure I was really hoping I’d have a frame or two with at least one of the ducks appearing sharply, and fortunately I did. It really was a very special moment, in so many ways.

While the photograph works as a single frame, I wanted to create a stitched image of three frames, as I felt it encompassed all of the visual elements and would represent the sheer scale of the scene, perfectly.

This was easily (and quickly, using custom indents) achieved using my ALPA 12 STC with HR Alpagon 4.0/40mm lens and with three horizontal frames at 10mm left - 0mm - 10mm right.

With this camera the lens is stationary and it’s the MFDB that shifts. This creates a distortion free image of extremely high quality. I also enjoy the format it creates. It is wide, but it doesn’t ‘feel’ wide. It doesn’t feel forced, pulled or distorted. It feels to me, like I am simply standing there.

One last thing to note, and another thing that surprised me about Milford Sound, was the speed of the incoming and outgoing tide. Be warned!

Dawn at Milford Sound, Fiordland National Park, South Island, New Zealand.


Milford Sound/Piopiotahi is a fiord in the south west of New Zealand’s South Island, within Fiordland National Park.

It has been judged the world’s top travel destination in an international survey in 2008 and is acclaimed as New Zealand’s most famous tourist destination.

Milford Sound is known as the wettest inhabited place in New Zealand and one of the wettest in the world.

Rudyard Kipling called it the eighth Wonder of the World...
— Wikipedia

Detail - A rather special moment frozen in time, during the 4 second exposure.


The photograph below also made it through to the CA shortlist, but in the end it wasn’t a ‘winner’

It was part of an exciting commission for the good folk at the Essex & Herts Air Ambulance Trust (EHAAT)

You can find the full set here.

The front cover photograph of the EHAAT 21/22 ‘Everyday Heroes’ Annual Review.


ALPA Summit 2023

ALPA Summit - Appenzell 2023

SEPTEMBER 1st to 2nd 2023

“Discover the world of photography at the ALPA SUMMIT 2023 in Appenzell, Switzerland - 2 days of inspiration, passion and quality.

Be part of masterclass workshops, and visit the ALPA Academy exhibition. Experience pure photography in the picturesque village of Appenzell”

September 1st

I will give a one day Masterclass, discussing my approach and thoughts on landscape photography.

We will also visit and make work at the stunning Seealpsee Lake.

September 2nd

I will give a one day Masterclass, discussing my approach and thoughts on landscape photography.

We will also visit and make work at Hoher Kasten.

Fellow ALPA Ambassador and landscape photographer Thomas Biasotto, will also be offering two masterclasses. One at Kronberg and one making work from a helicopter.

ALPA Academy & Capture Integration - Landscape Masterclass in the Olympic National Park, WA

OLYMPIC NATIONAL PARK, WASHINGTON STATE - CAPTURE INTEGRATION & THE ALPA ACADEMY MASTERCLASS

SEPTEMBER 17th to 22nd 2023

“Hosted by my good friends at Capture Integration, this will be my third workshop in the Pacific Northwest.

The choice of location for the workshop was inspired by the simple fact that the Olympic National Park has such a diverse range of scenery and with the added bonus of some often challenging and dramatic weather, which is something I relish when making personal landscape work.

The grand Lake Quinault Lodge is a truly wonderful place to be based. Stepped in history and surrounded by beautiful landscape, it is the perfect place to unwind, relax and immerse yourself in a week of landscape photography.

As well as guiding and taking you to some stunning locations, I will also run daily master classes on many aspects of photography.

Broadly speaking I'll discuss and explore the art, mindset and process of landscape photography”


Below is a small selection of the locations where we will be working. You can find out more here, along with information on how I created the panoramic work.

Maple Glade, Quinault Rain Forest, Olympic National Park, WA.

Second Beach, near La Push, Olympic National Park, WA.

Merriman Falls, Olympic National Park, WA.


Below is Lake Quinault Lodge, our home for the week. Perfectly situated on the shore of Lake Quinault and just a short drive from many of the stunning locations where we will spend time.

The beautiful Lake Quinault Lodge.


Apennine Passes for Road Rat Magazine

Back in September I got a call from Rupert Gale at The Road Rat.. “how did I fancy shooting another series of mountain passes, but this time in Italy, in the Dolomites”

The mountain passes of the Dolomites are truly breathtaking, so as with the previous Road Rat assignment in the French Alps, I wanted to avoid using a single super wide cropped shot, so I opted to shoot panoramics using the ALPA 12 STC, ALPA HR Alpagon 4.0/40mm SB17 and a nodal rail. This gave a far more natural feel and perspective to the images and importantly avoided the ‘pull’ of a super wide lens, which is something I’m not keen on.

The scenes before us were so vast that some of them required up to 12 stitched frames, which were later put together using Photomerge in Photoshop. The largest PSB file ended up at just over 30 GB!

You can see a small selection of the work we made below, with more examples of the evolving ‘Great Mountain Passes’ project here.

“Exquisitely printed on a mix of heavy gloss and matt art papers, Issue Six of The Road Rat is a beautiful thing. 244 pages (it weighs around 1 kilo) The sixth Edition of The Road Rat is something of a diversion as it features a theme — Italy. We wanted to something to recognise the suffering, way back at the start of all this, of a nation that, as enthusiasts, is something of a Promised Land. So prepare to learn the psycho-geography of Turin, the dining habits of Enzo Ferrari, the sheer brilliance of small Italian cars and a look inside the astonishing mind and archive of Giovanni Michelotti.”

For The Road Rat magazine subscription information, head over here.

The opening spread.

The opening spread.

Passo Rolle. Highest point: 1984m. Number of turns: 44.

Passo Rolle. Highest point: 1984m. Number of turns: 44.

Passo de Giau. Highest point: 2236m. Number of turns: 55.

Passo de Giau. Highest point: 2236m. Number of turns: 55.

Passo Gavia. Highest point: 2621m. Number of turns: 23.

Passo Gavia. Highest point: 2621m. Number of turns: 23.

Passo de Giau. Highest point: 2236m. Number of turns: 55.

Passo de Giau. Highest point: 2236m. Number of turns: 55.

A New Blog.. 'I'm In A Wide Open Space'

2020 started off well for me. I was working on a sizeable assignment in January and it was also the official launch of my new book North Northwest, which had just won two awards.

I was excited and proud of the new book and really couldn’t wait to start telling the world all about it. As I’ve always found marketing and self promotion a little hard, I came up with the idea of creating this blog, as a way of showing and talking about the work in the book itself.

The idea behind ‘I’m In A Wide Open Space’ was to create a dynamic, evolving space where I can house my landscape photographs, thoughts, work processes, stories and inspirations.

It was an idea that I’d been playing with for a few years, and simply hadn’t had the chance, or the head space, to start work on. It all made sense to me and I hoped it would also help improve my writing and understanding of photography.

Then the Covid-19 pandemic arrived..

At first I was in shock. All work was cancelled. How on earth could this be happening!

I then came around to thinking that the lockdown was actually a great opportunity. I was being given space and time in which I could write and craft the blog. This was perfect.

Then slowly but surely I seemed to shut down. It felt like some sort of mental paralysis. I was completely unable to concentrate or contemplate. I simply couldn’t think, let alone write. I started to doubt everything I had done or was hoping to do. I’d managed just one blog post.

Wind the clock forward eight months.. It’s now October. Work in some form has slowly started to reappear. But I’ve still not touched the blog. I’m still unable it seems to talk or even think about my landscape work. I’m stuck firmly in glue.

So I called my old friend Jack Lowe. He’s a man who’s work ethic and drive I admire greatly, and we talked for well over an hour. One key piece of advice, broadly speaking, was simply to start, and to take very small steps. It sounds so simple right ?

So that’s what I’ve done. I had hoped to launch the blog with a dozen posts, or more, with a fanfare on social media, but I’ve not done that. And it’s fine.

As an aside, but closely related to all of this.. I’m a big fan of Rich Roll’s podcasts and it was there on a conversation with Dr Michael Gervais that I heard the expression FOPO, which if you don’t know, stands for ‘Fear Of People’s Opinions’ This is something I know many people suffer from, but I have been quite shocked to realise its effect on me.

I’m hoping that sharing my work here and writing about it openly and honestly, will lift this cloak and allow me to breath again. I hope you’ll join me on my journey.

Finally I’d like to thank a few folk.. Firstly Fenton Smith, the owner of Concentric Editions, for his incredible patience and understanding. I’d also like to thank Jack for his timely advice and encouragement.

Working in Glen Sligachan, Isle of Skye - January 2017

Working in Glen Sligachan, Isle of Skye - January 2017

Turner's House In Twickenham - 200 Best Advertising Photographers Worldwide

I’m delighted that work from my Turner’s House In Twickenham commission has made it in to the Lürzers Archive ‘200 Best Advertising Photographers Worldwide’ 20/21 awards annual.

You can find more work from the project, with larger versions here.

Here’s the story behind the work, along with some history on the house itself..

I was contacted by one of the trustees of the Turner’s House Trust, who had read in an article that I was a great admirer of J.M.W. Turner’s landscape painting. He asked me if I was aware of the restoration project of Turner’s House in Twickenham, and would I like to contribute in some way. I immediately thought I could help in my capacity as a photographer, and so a plan was hatched, and in March of that year, just days before the restoration work was due to commence, the Trust kindly granted me the great honour of two days access to the house.

I wanted to approach the work in a simple and honest way, and so decided to work purely with natural light, with the single aim of capturing the atmosphere of the house. Turner’s work, for me, is all about drama and the play of light and colour, and I’ve aimed to capture the spirit of that in these photographs. All the work was shot using available light, on the ALPA 12 MAX with the excellent ALPA HR Alpagon 32mm SB17 lens.


“Sandycombe Lodge was built by 1813 to the designs of England’s great landscape painter, J.M.W. Turner, working here as his own architect to create a quiet retreat for himself, away from the pressures of the London art world. It also provided a home for his father, old William, in retirement from his trade as a barber and wigmaker in Covent Garden, and with old William’s declining health and changes in his own life, Turner sold the house in 1826

Turner’s House Trust has restored Sandycombe Lodge and made it available for all as a living reminder of J.M.W. Turner’s life in Twickenham and its influence on his art; 2013 marked the bicentenary of this building, a three-dimensional work by an artist renowned in his time and celebrated internationally today.

The house has had unsympathetic additions and is in a run-down condition. Turner’s House Trust intends to restore it to its original appearance and make it a monument to Turner in Twickenham. The house is open to the public and visitors can explore the small but beautiful building, with fascinating stories to tell”

For more information on the history and restoration of Sandycombe Lodge, and the Turner’s House Trust, go here. You can also find information, including drawings, on Butler & Hegarty’s web site, the project’s architects, here.

Outdoor Photography Magazine Interview - May 2020

The good folk at Outdoor Photography Magazine recently asked me if I’d be interested in doing an interview for their May 2020 edition.

After of course saying yes, my thoughts immediately turned to Steve Watkins. Steve was the editor of OP, who had sadly passed away in December of last year. He was also the driving force and energy behind the international OPOTY competition, for which I am privileged to sit on the judging panel.

Many of us are still in complete shock over Steve’s death. He was a kind and passionate man and someone that only ever exuded positivity and warmth. Many young and up-and-coming photographers have had their careers furthered through Steve’s selfless encouragement and his passion for photography. He will be greatly missed.

For a number of years Steve talked to me about doing an interview about my work and approach to landscape photography, but the process was always stalled, by me mainly, because I wanted my North Northwest book to be published beforehand. So, some three years later, a big thank you to Mark Bentley for inviting me once again to give an interview. Thanks too go to Nick Smith for making the process particularly enjoyable.

This is for you Steve..

North Northwest wins BBD&P Best British Book & Book of the Year

I’m both proud and delighted to say my forthcoming book ‘North Northwest’ has just won Best British Book and Book of the Year at the British Book Design & Production Awards.

"A fantastic 101 books made it onto the shortlist, but only 19 winners could be crowned. ‘North Northwest’, entered by Boss Print (Concentric Editions), was the star of the night, triumphing in the Best British Book category and winning the title of overall Book of the Year.

The judges commented that “Even amongst the highest of competition, this entry captivated us. There was not one element that did not fit in. The book was seamlessly put together as a whole with beautiful production and design, making it a truly worthy winner.”

My thanks go to fellow collaborators Fenton Smith of Boss Print and Concentric Editions and designer Les Welch. These awards are a true testament to the superb quality of the print, production and design of the book.

The book is available in three editions, with full information and purchasing options here.

Olympic National Park Panoramics

After leading an ALPA workshop in the beautiful Olympic National Park with Capture Integration I decided to stay on for an extra week, to make some work for myself.

The sheer scale of the landscapes in the Pacific Northwest do beg the question.. how on earth do I make a photograph of what I’m seeing before me, that feels natural to the eye? Instead of simply reverting to using a super wide lens, which I’m not particularly keen on due to the pulI and distortion, I found the solution in using a slightly longer lens and shooting panoramic images. I used my ALPA 12 SWA with HR Alpagon ƒ4.0 40mm SB17, which allowed me to shift the lens vertically (especially in the rain forests) and dial in some tilt when required, while importantly keeping the camera level for shooting frames for stitched panoramics.

Many of the images were shot in damp and windy conditions, with movement in both the water and the branches and leaves, the stitching software taking care of any movement and anomalies. With some of the images being created from 10 x 80mpxl frames, you can imagine.. the resulting 16 bit PSB files are large!

I’m pleased to say that some of the work has been selected for ‘Lurzers Archive Top 200 Best Advertising Photographers Worldwide 20/21’

Below are some examples of the work I made, with more images available to see here.

Below are a few ‘behind the scenes’ images of my ALPA 12 SWA..

Treasured Cameras

Some of my most treasured cameras, which I originally photographed for a promo piece timeline story..

From left to right.. Nikon F2A, ALPA 12 STC, Ebony SV45TE, Nikon F3, Contax 645 AF & ALPA 12 SWA.

For those asking.. the minimalist ball-head is the Acratech Ultimate Ball-head.

Isles of Skye, Harris and Lewis Workshop

UPDATE - FULLY BOOKED

I am running an all inclusive workshop in partnership with British landscape photographer Steve Gosling in March 2019. This will be my first workshop in the UK, having lead previous workshops in the United States for ALPA and Capture Integration.

This is an exclusive and intensive workshop for intermediate or advanced photographers wanting to develop their photography in some amazing Scottish island locations, under the guidance of two experienced professional photographers. The emphasis will be on getting you to some fantastic locations and helping you refine & develop your approach to the photographic process. The workshop will provide a challenging experience, not only out photographing but also with lots of time allocated for discussions and debates on the principles, philosophy and aesthetics of photography.

To enable maximum interaction between instructors and participants numbers are strictly limited to 6 people.

Both instructors use ALPA and Phase One medium format equipment, so we are particularly interested in working with existing or potential medium format photographers. 

THE LOCATIONS

Skye is a wonderfully dramatic & picturesque island located off the west coast of Scotland that has been voted 'the 4th best island in the world' by National Geographic magazine. It's a place of extremes, from the craggy outline of the Cuillin to the sheer cliffs and imposing headlands that descend to peaceful bays & beaches. The photographic opportunites it offers are both varied and stunning.

Harris & Lewis is one island accessed by ferry from Skye. It is a location full of history - the neolithic standing stones at Callanish are older than Stonehenge - and the landscapes offer tremendous variety, from high mountains to deeply indented sea lochs, coastal islands, rocky coves and beautiful white sandy beaches. It is a wonderful location providing space, peace, tranquility and photographs aplenty.

WHEN

1st to 10th March 2019

THE COST

The cost per person is £6250.

This includes tuition, accommodation in premium hotels, all meals, dinner one evening at the award winning 'Three Chimneys' Restaurant on the Isle of Skye and transport (including from/to Inverness Airport and the cost of the ferry crossing to/from Harris & Lewis).

OUTLINE PROGRAMME

We will collect participants from Inverness airport on the 1st March and then travel to our base on Skye - the magnificent Cuillin Hills Hotel with its fantastic views across Portree Bay.

We will stay on Skye for 5 nights visiting locations such as The Quirang, Neist Point, the Fairy Pools in Glen Brittle, Sligachan and Loch Coruisk.

On day 6 we will catch the ferry to Harris and Lewis where we stay at the Hotel Hebrides in Tarbert for 3 nights. Our relatively short time on Haris & Lewis will be spent making the most of the photographic opportunites at locations such as Luskentyre, Seilebost, Traigh Iar, Huisinis and of course the historic standing stones at Callanish.

We will leave for the return ferry across to the Isle of Skye on the morning of the 9th March where we will spend our final night back at the Cuillin Hills Hotel. The following morning we will load the vehicles and take people back to Inverness Airport for their return journey home.

Alpine Passes for The Road Rat magazine

I got a call from my old friend Mikey Harvey.. how did I fancy shooting a series of Alpine passes for a new premium automotive magazine called The Road Rat? Of course I said yes.

With three locations chosen, a couple of Michelin maps in the glove box and hotel and Eurotunnel reservations made, we hit the road.. After 5 long days, 146 caffè lattes, numerous marmot encounters and with 1987 miles behind us.. we were back.

The mountain passes were truly breathtaking and recording them was not a straight forward task. Instead of cropping a single super wide shot, I decided to shoot panoramics using the ALPA 12 STC, ALPA HR Alpagon 4.0/40mm SB17 and a nodal rail. The scenes before us were so vast that some of them required 12 stitched frames.

You can see a small selection of the work we made below, with more examples of the larger project here.

“Exquisitely printed on a mix of heavy gloss and matt art papers, Issue One of The Road Rat is a beautiful thing. 244 pages (it weighs around 1 kilo) it is at once absolutely of the moment - Lewis Hamilton, the Aston Martin Valkyrie - yet simultaneously timeless as we dwell on the making of the modern Ferrari and the decline of the Mercedes SL. It’s not a place for hot takes but long-form, writing every bit as considered as our photography, illustration and design.”

For The Road Rat magazine subscription information, head over here.

The opening spread.

The opening spread.

The Col d’ Izoard. Highest point: 2360m. Number of turns: 49.

The Col d’ Izoard. Highest point: 2360m. Number of turns: 49.

The Col du Galibier. Highest point: 2645m. Number of turns: 44.

The Col du Galibier. Highest point: 2645m. Number of turns: 44.

The Col de la Bonette. Highest point: 2715m. Number of turns: 63.

The Col de la Bonette. Highest point: 2715m. Number of turns: 63.

ALPA Landscape Workshop in the Olympic National Park, WA

I'm delighted to announce that I'm leading an ALPA cameras landscape photography workshop in the beautiful Olympic National Park, Washington State, in September of this year. The workshop is being organised by my good friends at Capture Integration, who have years of award winning experience when it comes to offering the best in customer service and care.

I've been an ALPA user for many years and have always enjoyed sharing my experiences of working this wonderful camera system, with old and new users alike. This workshop is also a unique opportunity for clients to spend time with André Oldani, the CEO of ALPA Cameras.

The choice of location for the workshop was inspired by the simple fact that the Olympic National Park has such a diverse range of scenery and with the added bonus of some often challenging and dramatic weather, which is something I relish when making personal landscape work.

Finally the grand Lake Quinault Lodge is a truly wonderful place to be based. Stepped in history and surrounded by beautiful landscape, it is the perfect place to unwind, relax and immerse yourself in a week of landscape photography.

For the full details including booking, click here.

Ad Campaign For Network Rail

The lovely folk at 23red, commissioned me to shoot a series of atmospheric ads for Network Rail, for their Midland Mainline Safety poster campaign.

The imagery had to be used across 6, 48 and 98 sheet sites, and so I chose to shoot on my ALPA 12 MAX and PhaseOne IQ MFDB combo, in order to achieve the largest possible file size and resolution.

A big thank you to the Network Rail safety team that watched our bright orange backs, while we worked.

Client : Network Rail.    Agency : 23red.    AD : Tristan Cavanagh & Tom Mann.

Below are 3 of the 48 sheet ads..   

Chasing Shadows For Land Rover On The Isle of Skye

Back in January I spent a week on the Isle of Skye, and the reason I was there was to shoot the all new Land Rover Discovery 5.

We had a week of suitably wet and wild weather, which of course added realism and drama to the imagery, with the added bonus that the Discovery’s colour, Namib Orange, perfectly complemented the brooding grey skies and rich warm colours of the Scottish winter landscape.

Much of what I shot has appeared in Land Rover’s OneLife magazine, in a 12 page article entitled ‘Chasing Shadows’ which tells the story of my time with the car, and also my thoughts on landscape photography and equipment, it also documents a part of my journey around the island that I’ve come to know and love so well.

Client : Land Rover.    Agency : Spark44.    AD : Dan Delaney.

Below is a selection of spreads from the OneLife article, with larger versions of the images here.

Turner's House In Twickenham

Back in the autumn of 2015 I was contacted by one of the trustees of the Turner’s House Trust, who had read in an article that I was a great admirer of J.M.W. Turner’s landscape painting. He asked me if I was aware of the restoration project of Turner’s House in Twickenham, and would I like to contribute in some way. I immediately thought I could help in my capacity as a photographer, and so a plan was hatched, and in March of this year, just days before the restoration work was due to commence, the Trust kindly granted me the great honour of two days access to the house.

I wanted to approach the work in a simple and honest way, and so decided to work purely with natural light, with the single aim of capturing the atmosphere of the house. Turner’s work, for me, is all about drama and the play of light and colour, and I’ve aimed to capture the spirit of that in these photographs. All the work was shot using available light, on the ALPA 12 MAX / PhaseOne IQ180 combo, with ALPA HR Alpagon 32mm SB17 lens.

“Sandycombe Lodge was built by 1813 to the designs of England’s great landscape painter, J.M.W. Turner, working here as his own architect to create a quiet retreat for himself, away from the pressures of the London art world. It also provided a home for his father, old William, in retirement from his trade as a barber and wigmaker in Covent Garden, and with old William’s declining health and changes in his own life, Turner sold the house in 1826

Turner’s House Trust intends to restore Sandycombe Lodge and make it available for all as a living reminder of J.M.W. Turner’s life in Twickenham and its influence on his art; 2013 marked the bicentenary of this building, a three-dimensional work by an artist renowned in his time and celebrated internationally today.

The house has had unsympathetic additions and is in a run-down condition. Turner’s House Trust intends to restore it to its original appearance and make it a monument to Turner in Twickenham. Once restored, the house will open to the public and allow visitors to explore a small but beautiful building, with fascinating stories to tell”

For more information on the history and restoration of Sandycombe Lodge, and the Turner’s House Trust, go here. You can also find information, including drawings, on Butler & Hegarty’s web site, the project’s architects, here.

Below is a small selection of the work that I made over the two days that I spent in the house, followed by some behind the scenes images. More work can be found here

Images shown courtesy of Turner’s House Trust.

Below are some behind the scenes images showing the ALPA 12 MAX with HR Alpagon 32mm f4 SB17 lens combo that was used for all of the photographs. The MBP tethering set up shows Inovativ’s excellent Digiplate Pro set up.