ABOUT
about ME
Thank you for your interest in my work. As you browse this website I hope that you enjoy my collection of floral and botanical portraits, each of which is available as a fine art print.
When I was a boy my father was a keen gardener, who, every summer, worked tirelessly to transform our garden into a paintbox of colour that would last the entire season and beyond. Maintaining that display was never easy. Not when the plants that he nurtured would bloom and fade so quickly. Whilst I don’t possess the same horticultural skills as my father, I can pay tribute to his work through my photography. Using my camera, I seek to create my own palette of colours that can be enjoyed, not just for weeks, months, or even seasons, but for generations to come.
My interest in photography began when I was nineteen. I left college, got a job, and four months later I had enough cash in my pocket to buy a Pentax MX. That amazing little camera was the perfect tool with which to learn the art of photography. Being all mechanical and with no automatic features it had to be worked to get results. I still have my MX and always will. It holds great sentimental value.
For many years my interest in photography took a back seat to my career with one of the UK’s top private banks. Working with clients to finance their investments in real estate provided invaluable experience and some amazing friendships too. Viewing properties was always fun but there were too many days spent pushing words and numbers around a screen. Finally, I decided to leave behind my career in banking to pursue my creative ambitions. In January 2025, my wife Sue and I relocated from London to the beautiful City of Bath.
Fine art botanical photographs Printed on museum grade paper to last a lifetime.
about my work
Every subject that appears on my website existed in nature before being immortalised by my camera. If authenticity and human creativity are more important to you than images generated using algorithms then you are in the right place.
My portraits take the form of a single flower or botanical subject composed against a black background. I use negative space to allow each subject room to breathe and to draw the eye. There is a saying “Simplicity is the ultimate sophistication” and for me it’s a truth that can be applied to all art and design. Each of my portraits is a macro study with artistic qualities, revealing hidden geometry, colours, and textures normally unseen by the human eye. This close-up view triggers a sense of wonder that connects us to nature, and satisfies our love for beauty and order.
I favour subtle tones to emphasise texture and detail rather than high contrast images with over saturated colours. My style blends visual appeal with purposeful restraint so as to achieve an understated and refined aesthetic.
All of my portraits are printed to museum standard using Canon LUCIA PRO archival inks on fine art paper from the Arches Mill in the Vosges region of France. Paper has been produced there for over 500 years using traditional cylinder moulds and mineral water (Vittel) drawn from underground wells. Many of the great masters such as Monet, Van Gough, Matisse and Picasso (to name just a few) have produced major works on the papers produced at this mill. My own choice of paper has a textured surface that brings a painterly quality and depth to my images.
As well as colour portraits I have a range of images available as black and white prints for those who prefer a classic look. My portraits display beautifully in homes and commercial spaces, integrating seamlessly with your own interior design.
I hope that you find something on my website that would look good in a space of your own. If you have any questions whatsoever then please do not hesitate to contact me.
I shall be adding new pieces to my collection on a regular basis.
about MY PROCESS
I use a technique developed in the 1970s, known as focus stacking, to produce my detailed botanical images.
Using a Canon EOS 5DS R camera and a specialised macro lens, I capture a sequence of photographs to create my final image. A macro lens has a razor-thin depth of field, and so individual frames only capture a tiny slice of the subject in focus.
To overcome this, I mount the camera on a tripod with a programmed macro rail, shifting the camera forward in increments, sometimes just a single millimetre between shots. I then use software to merge the sharpest elements from each image into one deep-focus photograph. Because the output photograph produced by the software isn’t always perfect, I can spend hours manually refining the final image to correct artifacts and other errors. The result though is worth it.
