Tintypes, invented in the 1850s, consist of a blackened metal plate coated with photographic emulsion that is exposed in a large format bellows camera.
Tintype portraits have a special power: they require long exposures which force the sitter to concentrate on their own stillness and gaze. Portraits acquire a gravitas and nobility rarely achieved in other forms of portraiture.
Each tintype is a unique, one of a kind physical object, there being no intermediate negative or file involved for their production.
The technique is rarely practiced and seldom encountered.
Tintypes exemplify a return to hand crafted image making. The solid, tactile presence of unique photographs made on the spot, looking out from durable metal plates has a beguiling power that is rarely experienced in modern photography.
Firas Massouh, broadcaster 2016
5x7 inch collodion tintype
Warwick Oakman, architectural historian & antique dealer 2015
explores the nature of the photograph as image object by employing a process that draws attention to the physical photograph itself as much as to the photographic subject. It exploits the unpredictability and fragility of hand made, chemical process image-making to subvert our tendency to see the photographic representation of a thing as the thing itself.
The tintypes comprising For a Sick Motherdeal with a son's memories of his now aging mother who is gravely sick with dementia. The images evoke tender memories of the relationship of a mother with the family she raised and sad reflections upon the inexorable senescence she is experiencing as life fades away.
Memory (for a sick mother) 2016
panel of 16 5x4 inch collodion tintypes
The Top Gallery, Salamanca Arts Centre, Hobart. Nov2-29 2015
Wilderness photography draws attention to pristine, wild spaces. It is a modern manifestation of the Sublime in art. However, forests that have been exploited by humans can nevertheless can be beautiful in their own way. The forlorn and damaged air sometimes pervading logged, regrowth forests is in part counterbalanced by the vigor and tenacity of the recovering forest ecosystem. They have a dignity which is perhaps easily overlooked.
I am using high resolution, multiframe panoramas to document native forests in various stages of recuperation from logging.
Mt Morrison forest block coupes, Australia 2013
Hämeenlinna forest 2014
Forest near Daumantiškiai, Lithuania 2013
Tarkine fire ground 2016
Hämeenlinna island forest 2014
Entrepôt Gallery, Hunter Street, Hobart. July 27 - August 6 2015
Vestige explores and documents vanishing or barely perceptible traces of historic human activity in the Tasmanian landscape. This series of high resolution, visually immersive panoramic works invites the viewer to reflect upon our history and to ponder our once audacious yet ultimately tenuous and ephemeral imprint upon the land. The majority of images document sites of strenuous (and sometimes forced) labour and industry across Tasmania which are now fading into obscurity, reclaimed by nature and time.
All images 2015, composite digital photographs, black and white pigment prints on Hahnemuhle photorag. 94cm x ~24cm.
Convict sandstone quarry Plunkett Point, Saltwater River.
Port Davey Track & Western Arthur Range
Stump with jigger board hole, Evercreach Reserve.
Barracks at Coal Mines, Saltwater River.
Water race, Mt Lyell mines, Queenstown.
Whaler's lookout, Great Oyster Bay.
walnut orchard seasons, St-Romans 2003
Evening prayers, Mt Morrison 2013
Mt Morrison in mist, Runnymede 2011
On the Midlands Highway, Oatlands 2010
Mt Morrison, Runnymede 2012
Redwood forest, Santa Cruz 2008
Boulders at Hyden 2005
Bog forest, Hämeenlinna 2014
“We see what must be seen and disappear in the sea.” Hiroshi Sugimoto
Tidal standing wave, Sorell 2013
Jade sea and distant rain, Nice 2013
Men of war, Monterey Bay Aquarium 2007
Power of and in the sea, Austinmer 1998
Evening calm, Bunbury 2005
On thick ice. Helsinki 2014
"I feel like I received this photograph, I didn't take it. If you're in the right place at the right time, then all you have to do is push a button. Being a photographer doesn't come into it." Pentti Sammallahti
Draped scaffolding, Fremantle 2006
Dingo Flour, North Fremantle 2004
Myers site, Hobart 2013
Shadow, Saint-Antoine l'Abbaye 2002
Mind the gap, London 2009
Bus stop, Lithuania 2014
Kamppi chapel, Helsinki 2014
Flamenco dancers, Seville 2008
Evelina & Aiste, Daumantiškiai 2008
New Year's Eve, Lithuania 2014
Oscar at Runnymede 2012
Louvre statue, Paris 2000
Tomb, San Lorenzo de El Escorial 2003
Manequins, Rome 2003
Ken and Barbie, Daumantiškiai 2007
Farmer, Daumantiškiai 2008
Flagstone cross, Saint-Georges-la-Pouge 2003
Ford, Margaret River 2006
Vatican Museums staircase, Rome 2003
Cooling towers, Sully-sur-Loire 2003
Power station, Helsinki 2014
Sörnäinen dock bollards, Helsinki 2014
Late bloomer, Dijon 2000
Wild daffodils, Runnymede 2013
Forest floor, French Alps 2000
Market pumpkins, Margaret River 2006
Love carrots, Daumantiškiai 2008
Cellar, Les Bordes 2002
Driftwood, NZ 2007
Frozen autumn leaves, Hämeenlinna 2014
I am providing the visual content for a book describing the annual cycle of agriculture and nature on a Finnish organic beef and ecological sustainable forestry farm: Bosgård http://www.bosgard.com/en/ .
Bosgard stable window 2014
Charolais calves, 2013
Frost on nature trail, 2013
Fort rock 2013
in search of lost time
A selection from the shoebox that stores images of my life-long journey with the camera.
Ling, Sydney, early 80s polaroid
Boy Scout trip on Cox's River, Australia. Silver gelatin photograph 1970s