One can never understand a city in its entirety. In his book about Sydney, the writer Peter Carey said,
'If you can confidently say you know a city,you are probably talking about a town.
A metropolis is, by definition, inexhaustible …’
The city is a place of complexity and constant change, and this fascinates me, because it is change which makes possible surprise and serendipity. Most of my photographs are city photographs, made in an attempt to replicate, in some way, the complexity of the city experience.
Clicking on any of the images below will open a gallery that contains images grouped loosely under the headings.
A dedicated series of galleries of images in black+white can be found below.
At the birth of photography, all images were black and white. For many experimenters, however, colour reproduction became the ‘holy grail’, and within little more than a decade of the announcement of Daguerre’s invention there were claims being made of photographers successfully making coloured images. It was to be almost a century, however, before the first commercial processes were introduced: in the late 1930s, Kodak introduced ‘Kodachrome’, and Agfa gave us ‘Agfacolor Neu’.
After many decades of experimenting and perfecting the colour process, we have now arrived at a point where, in fact, ALL of our images are made in colour.  It may seem strange, then, that we should even be thinking about black+white as a viable means of expression.
There is, however, something distinctly different about seeing the world in shades of grey.
 There are a couple of caveats to this. Firstly, there are many photographers (myself included) who still use film—and even stranger processes—to make images, and many of those are made in B+W. Also, there is at least one digital camera—the Leica M-Monochrome—which is made to capture only black and white images.
At Street Level