Photography

This black and white photography project explores the layers of history embedded in the rural landscape around Wadswick Green, Wiltshire. Now a retirement village, the site has a deep and complex past that reaches back to Roman times, when Bath stone was first quarried locally. The Victorians took the quarries underground, creating vast stone chambers that were later repurposed during World War II as ammunition stores and underground factories—and later still, as Cold War government facilities. To support these operations, a network of temporary camps was built in the surrounding countryside. One of these evolved into HMS Royal Arthur, a Royal Navy training establishment that remained in use until 1993. This project documents the physical traces that remain—from mine entrances to military infrastructure—revealing how human endeavour has shaped and reshaped this landscape over centuries, long before it became a place of retirement and reflection.

This set of six black and white photographs reflects on the idea of boundaries—fences, gates, and posts—once intended to divide or protect. On a quiet walk through woods and overgrown paths, I found these structures slowly disappearing into the landscape. Some remain upright, some are rusted or broken, and others are barely visible beneath leaves and bramble. Shot in black and white to highlight texture and mood, these images invite reflection on how time softens all barriers. What was once strong and purposeful now quietly returns to the wild.

As part of an RPS monochrome photography course led by Simon Ellingworth, we were encouraged to explore new creative directions. Inspired by the evolving work of Nick Brandt, I chose to step out of my usual photographic comfort zone to focus on people—an area I rarely explore outside formal events. This ongoing project turns the lens towards the life and rhythms of Wadswick Green, the retirement village where I live. Rather than posed portraits, I aim to capture unguarded moments that reflect the character, community, and daily activities of the residents. By working within a familiar environment, I hope to reveal authentic glimpses of companionship, independence, humour, and quiet resilience. The use of monochrome helps distil each image down to its emotional essence—light, form, and human presence—free from the distractions of colour. These are not just pictures of people, but reflections of life being lived.

This series explores the quiet beauty of everyday objects through a minimalist lens. Inspired by the meditative style of Michael Kenna, I’ve used simple dominos, light, and shadow to create small, sculptural moments that invite stillness and reflection. Each image plays with balance, rhythm, and silence — a solitary domino standing tall, one fallen into shadow, others lined like sentinels or caught mid-collapse. What began as a technical experiment in lighting became a study in mood and form. These are familiar pieces, but I hope they feel slightly unfamiliar here — just enough to make you pause.

29 May 2025, First outing with this new toy so this gallery is very much "work in progress".

This set of six black-and-white photographs was taken during a photography club outing to Corsham, a small market town in Wiltshire known for its quiet charm — and its wandering peacocks. Each image captures a candid moment, not staged but discovered: slices of ordinary life made extraordinary by chance juxtapositions, layered reflections, or unexpected visitors. What binds them together is not just location, but a shared curiosity about how people inhabit — and sometimes ignore — the public spaces around them. The images range from the gently absurd (peacocks confronting a distillery or a “Private Access” sign) to the introspective (reflections in charity shop windows and hairdressing glass). One or two are humorous, others more ambiguous — but all were chosen for their ability to reward a second look. The collection is unified by: A quiet documentary style, Strong use of framing and layering, A mix of humour, humanity, and visual curiosity.

This series of black-and-white photographs captures Castle Combe — often described as England’s prettiest village — on a quiet, rain-soaked day. The rain becomes a character in its own right, softening the textures, deepening the tones, and amplifying the village’s timeless charm. From winding lanes and gabled cottages to fleeting human moments and the enduring presence of stone, each image offers a glimpse into a place where little has changed and everything feels quietly alive. The photographs were all taken on a single walk and later reworked in Nik Silver Efex to reflect the subdued mood and intricate detail of this evocative setting.

This gallery documents a classic car rally as it passed through Wadswick Green—our retirement village in Wiltshire. But more than a showcase of chrome and curves, this series is a tribute to memory, movement, and community. I set out not to record a catalogue of vehicles, but to capture the spirit of the day: the arrival of beloved machines, the quiet pride of their owners, the small interactions, and the interplay of light, reflection, and nostalgia. Each image was processed in black and white to remove the distraction of colour and focus instead on shape, shine, and story. Some compositions are deliberate portraits; others, quiet observations. A few of the cars are iconic—E-Type Jaguars and Bugattis that need no introduction. Others are humbler, yet equally cherished. And somewhere between them all, you’ll find the joy of motion, the pause of a bonnet inspection, and the moment just before the engines turn over to head home. This is a visual journey not just through the village lanes, but through time—where the past rolls forward for a brief, sunlit afternoon.

This series explores the quiet, contemplative journey through natural spaces — both physical and emotional. Shot in a secluded woodland and converted to black and white using Nik Silver Efex Pro 8, these images strip the scene down to light, texture, and shadow. Each frame follows a winding path deeper into the forest, with the light gradually intensifying as the viewer moves through the set. The absence of color invites a slower, more reflective gaze — encouraging the viewer to focus on subtleties: the curve of a branch, the way light dances on the forest floor, or how a path leads without revealing its end. "Towards The Light" is both literal and metaphorical. It speaks to emergence — from doubt, from darkness, from stillness — toward something quieter, clearer, and more hopeful.