The Artist

I am a photographer working from Canberra, Australia.

I work across street, documentary, and architectural photography, drawn to the geometry, light, and shadow that structure a scene as much as any subject within it. Some images hold a direct, confrontational moment; others resolve into near-abstraction, where form and structure take over from narrative. Shot in black and white unless colour is doing real work, the throughline isn’t genre — it’s an interest in how a frame can hold both what’s happening and how it’s built.

First Camera

I was given my first camera at ten. It was a pass-downI don’t remember the model — but I remember the flash cube on top, the kind with four bulbs you rotated through, one per shot.

Learning on Prakticas

I got into SLRs quickly after that. Growing up in West Berlin, my first was a Praktica Super TL1000 — an East German camera, and it showed. Crude, with nothing subtle about it: the whole body shook when you released the shutter, and the release itself sat oddly on the right-hand side of the lens. I moved on soon after to the Praktica MTL 5B, which replaced the TL1000’s analogue under/over-exposure needle with an electronic up/down arrow in the viewfinder — a small change, but I remember it feeling like real progress at the time. Through my twenties I mostly shot on a Ricoh KR-10x, with a small handful of lenses.

The Darkroom

In high school I shot a lot of black and white, because I had access to a darkroom and could develop film and make my own prints. I loved the process — being in control of everything, from the exposure through to development, paper, and the final print.

Losing the Darkroom

That control didn’t last. I never had the space or the money for a darkroom of my own, and my twenties were shaped by drugstore prints and the frustration that came with them. I was no longer in control of the part of image-making that mattered most to me — exposures I’d carefully varied would all come back looking the same, quietly “corrected” by the lab.

Digital, and a Decade of Canon

After I moved to Australia in the early 2000s, digital SLRs became affordable enough — and good enough — to rival film. Not long after the Canon 10D was released, I scraped together several thousand dollars for one, along with the 24–70mm L-series zoom. I’ve been a Canon person ever since, and that camera came with me on every trip, however heavy the bag and however far the trip.

A Long Pause

When my first child was born, he became — probably — the best-photographed toddler in the Southern Hemisphere. I have thousands of photos from his first few years. When my second child arrived, that changed. I don’t feel great admitting it, but I was burnt out, and the idea of photographing my children — or anything — stopped exciting me.

It wasn’t only about having taken enough photos. Around the same time, I’d started a software company in the health space, and what followed was more than a decade of serious stress that took a real toll on my family and on me. There was no time left for creativity outside work, and for years my phone was the only camera I used.

Starting Again

In 2025 I was able to leave that business, and the creativity came back almost immediately. I upgraded to a Canon 5D Mark IV — just as Canon was retiring it — and that’s still what I shoot with today. I’ve resisted the move to mirrorless so far, and I don’t feel like I’m missing anything.

Where I Am Now

It’s been genuinely good fun — a real creative outlet and a source of energy rather than a drain on it. Most of what I shoot is street, but along the way I’ve found an eye for architecture too: urban structures often frame my street subjects, and street elements just as often end up supporting the architecture.

Enjoy the images — and get in touch below if something speaks to you.