Large Format Film Camera
While everyone else had a real job I spent more than 25 years hiking and camping in south west Western Australia. With my film camera, a trusty wooden field camera and a few sheets of film you can find me out on the coast, in the bush or climbing some peak.
I find landscapes inspiring, whether it be a grand scene or an intimate detail. The West has a unique and ancient landscape. Our quality of light is as hard as it is voluminous. It provides me with a continual challenge to reproduce that quality within the limitations of a photograph.
Since 1989 I have been photographing and publishing my landscape images of National Parks and Regional Reserves under my imprint Stormlight Publishing. I also provide images to other publishing houses for their publications.
My introduction to photography was in the era of film cameras and light sensitive photographic paper. A film camera is less forgiving if you don’t think ahead. But what you gain is their simplicity of use. It frees you to concentrate on making the image without distractions. They are robust to environments exposing them to rain and salt air. And a bonus of my 4×5 film camera is that it does not need batteries.
I learnt to develop my film in a tank and print my photographs in a traditional wet darkroom. By today’s standards it is neither fast nor easy. But it is a process I maintain to this day. It works alongside any digital workflow.
Working physically with silver halide materials provides a thread of continuity throughout my photography. Making prints by hand is the final and possibly most important act in this creative cycle. In my opinion it gives an unquestioning intention and authenticity to a photographer’s works.
My silver gelatin fibre based prints are made by hand and involves the use of traditional darkroom, light sensitive materials and chemistry. 
“I go for long walks in the bush or along the coast with my wooden field camera, a few sheets of film, a tripod and sometimes a tent and food. I like to take my time to absorb the environment, to rediscover and to reconnect. My direct involvement with the materials and techniques for making an expressive photographic print is of importance to me. I maintain a traditional darkroom, developing my films and hand printing all my black and white silver gelatin prints.”