Michael is a self-taught photographer and began experimenting with light and its effects on light sensitive media when given a Kodak Brownie Starlet camera around ten years old. Since then he has had a number of cameras, the last film camera being an Olympus OM-4 SLR.
Early influences on Michael’s photography came mainly from books by/on Ansel Adams, Edward Weston, Minor White, Olegas Truchanas, Peter Dombrovskis, Wolfgang Sievers, and exhibitions of photographs by Australian photographers.
While Michael always had an interest in natural history and his photography started out with this type of emphasis, it has moved on from merely recording the natural, and man-made environment to using the form, arrangement, and the interplay of light within the image to convey emotions at the time of capture. He starts with a full ‘canvas’ and seeks to de-clutter it using the right vantage point and lighting.
Photography subjects range from architectural/industrial through to images inspired by the natural world, and encompass broad landscapes to fine details within landscapes, with patterns and textures playing a large part in the images.
Michael’s workflow involves using Lightroom to both import images as Digital Negatives (DNG), and then to edit them non-destructively. Once the image is ready for outputting it is exported to Photoshop as a TIFF file, keeping all the Lightroom adjustments. If an image requires further editing not possible in Lightroom, Photoshop will be used for the final editing before preparing it for printing, projection, or the web.
Recently Michael has also been combining a number of images, and/or using other editing processes to create another reality. These are identified as such and are distinct from other images.
When printing, archival quality photographic papers and Epson UltraChrome HD Pigment Inks are used.