TRAVEL PHOTOGRAPHY PRINTS

While visiting the island of Fuerteventura, I noticed that a close-knit flock of wild green monk parrots would gather in the palm trees every afternoon at almost exactly the same time. They were fascinating to watch, taking turns meticulously preening and looking after their feathers.

One afternoon, I was fortunate enough to get very close to this particular parrot without frightening him. In fact, he seemed perfectly happy to have me there, carrying on with his grooming as though I wasn't there at all.

What amused me most was the way he spread his beautiful green and blue feathers, almost as if he were proudly showing them off for the camera. He certainly didn't seem shy! It was a lovely moment to witness, and one that still makes me smile.

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I photographed Gravity while watching a kitesurfer repeatedly launching himself high above the water. I wanted to make something a little different from the usual kitesurfing photograph, so I lay flat on my stomach and photographed from a very low angle.

By doing that I was able to leave the sea completely out of the frame. When the kitesurfer jumped, he appeared almost completely on his own against the sky, which gave the photograph the slightly surreal quality I was looking for.

I liked the simplicity of the result — just the pale sky and this tiny figure apparently suspended in mid-air. Without the sea beneath him there is very little to explain where he is, and for a moment he almost seems to be floating rather than kitesurfing.

That feeling of weightlessness is what gave the photograph its title, Gravity.

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The Blue Lighthouse was photographed at Morro Jable in Fuerteventura during the blue hour, as the last daylight was disappearing from the coast. What caught my attention was the simplicity of the lighthouse standing alone against the deepening blue sky and sea. I was drawn to the stillness of the scene and the way the fading light reduced everything to shape, tone and atmosphere.

There is something about this brief transition between day and night that I have always found particularly beautiful to photograph. The Blue Lighthouse is available as a limited-edition fine art lighthouse photography print and works especially well at large scale, where the depth of blue and the solitary structure can create a strong but quiet presence within an interior.

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• 29 × 44 Inch - Edition of 30

• 40 × 60 Inch - Edition of 20

• 50 × 75 Inch - Edition of 15

· C Type Print on Fuji Professional Matte Paper

· Signed Certificate of Authenticity included

· Prints do not come with frame

· Contact me for Custom Sizes

★ On request a quote can be provided for both Metal Prints and Canvas Prints

I have always been drawn to palm trees, particularly towards the end of the day when their shapes become much more graphic against the sky. With Pink Palms, it was the contrast between the dark silhouettes and the soft pink colour behind them that made me stop and photograph the scene.

I waited as the light changed and the colour in the sky became softer. The arrangement of the palms already felt strong enough, so I kept everything else uncluttered and allowed their shapes and the unusual evening light to carry the photograph.

What appeals to me most is the balance between those dark silhouettes and the fading pink sky. There is very little competing for attention, just the palms, the colour and that brief period of light at the end of the day.

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LIMITED EDITIONS

• 29 × 44 Inch, Edition of 30
• 40 × 60 Inch, Edition of 20
• 50 × 75 Inch, Edition of 15

• C-type print on Fuji Professional Matte paper
• Print supplied unframed
• Custom sizes available on request
• Acrylic and metal versions available by special order, please contact me for a quote

I have visited Spain many times with my camera and have always been drawn to the colour and energy of flamenco. With Flamenco Spin, it was the movement of the dresses that interested me most. As the dancers turned, the fabric seemed to take on a life of its own, creating sweeping shapes and flashes of colour across the frame.

Rather than trying to freeze every detail, I wanted some of that movement to remain visible in the photograph. The changing shapes of the fabric and the colours moving together gave the image an almost abstract quality while still keeping the feeling and rhythm of the dance.

For me, Flamenco Spin is less about one individual dancer and more about the movement, colour and atmosphere of the moment. It is one of the reasons I enjoy photographing in Spain so much, because there is always something visually unexpected happening in front of the camera.

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• Giclée print on Hahnemühle Photo Rag paper
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I photographed Cernonos in Scotland while out looking for wildlife. I came across this stag standing slightly apart from the rest of the herd. I stopped to watch him and waited quietly for the moment I wanted to photograph.

What interested me was the combination of his strength and stillness. He had a very powerful presence, yet seemed completely at ease, with the other deer nearby. I liked the way he stood out from the herd without being separated from his surroundings.

I had not expected to come across this scene, which is one of the things I love about photographing wildlife. For me, the photograph is about that unexpected encounter and the quiet confidence of this magnificent animal.

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I photographed Wild Grace in Scotland on a misty day when I had been walking for quite some time looking for deer without much success. Eventually I sat down in the grass for a rest. When I turned around, this stag was standing only a short distance away from me.

He seemed completely calm, but also curious about what I was doing. I stayed where I was rather than moving towards him and was able to photograph him quietly as he rested in the landscape.

I love encounters like this because you can spend hours searching for wildlife and then, when you least expect it, everything suddenly comes together. The mist, the stag and the quietness of the surroundings made this a particularly memorable moment for me.

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I photographed this traditional Punch and Judy stage on the beach at Swanage, on the Dorset coast in southern England. The bright colours immediately caught my attention, particularly against the quieter tones of the beach and sea.

I used a slow shutter speed to soften the movement of the water and give the sea a more fluid appearance. It also allowed a little movement to show in the seagulls as they flew through the scene, which I felt added something to the atmosphere rather than freezing everything completely.

Punch and Judy has been part of the British seaside for generations, and I liked the nostalgic feeling of finding the little stage still sitting there on the sand. For me, the photograph brings together the colour and character of a traditional seaside attraction with the movement of the beach around it.

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• 29 × 44 Inch — Edition of 30
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• Giclée print on Hahnemühle Photo Rag paper
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I photographed Dreamland on Fuerteventura, an island I’ve returned to many times over the years. I know this landscape well, but on this particular day the mountains looked completely different as low cloud drifted across them and softened their normally rugged outlines.

What caught my attention was the way the cloud seemed to sit between the layers of the mountains, revealing and hiding parts of the landscape as it moved. I stayed watching as the scene changed, waiting until the balance between the mountains and cloud felt right before making the photograph.

For me, it is that contrast between the solid shapes of the mountains and the softness of the passing cloud that gives the photograph its atmosphere.

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I was driving along the beach road near Tarifa in southern Spain when I noticed a group of cows lying on the sand, seemingly sunbathing. It was such an unexpected sight that I knew I had to stop and photograph them.

It was a very hot day, and to get the viewpoint I wanted I had to crawl across the sand on my stomach so I could approach without disturbing them. They seemed completely at ease, stretched out on the beach enjoying the warmth.

What amused me most was how familiar the scene felt. Watching them relaxing in the sunshine made me think that perhaps cows have more in common with us than we realise. That mixture of humour and the unusual beach setting is what still makes this photograph memorable for me.

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I came across this scene when a wave was breaking against a sea wall covered in colourful graffiti. It immediately looked different from the wave photographs I would normally make, and I knew there was an interesting picture in the collision between the water and the painted wall.

What I liked was the contrast between something completely natural and unpredictable and the marks that people had left behind. As the wave hit the wall, the spray and movement seemed to become part of the graffiti for a moment, almost as though the two had merged together.

That unexpected combination is what gave the photograph its title. Graffiti Wave is less about recording a perfect wave and more about the colour, texture and energy that appeared when the sea met this man-made surface.

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• 29 × 44 and 40 × 60 inches: Hahnemühle Photo Rag Baryta fine art paper
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Cows & Kites was photographed on the beach at Tarifa in southern Spain. A group of cows had settled in the warmth of the sun while colourful kites were being prepared along the shoreline, creating an unexpected scene that immediately caught my attention. I waited until the spacing between the animals and the kites felt right, allowing the composition to come together naturally before making the photograph. The image later received an Honorable Mention in the Travel category at the Global Lens Awards 2025.

I like the simplicity of this photograph — the open beach, the small groups of cattle and the kites scattered across the sky. At a larger size you can see more of those little relationships within the scene, which is part of what makes the photograph work for me.

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LIMITED EDITIONS

• 29 × 44 Inch - Edition of 30

• 40 × 60 Inch - Edition of 20

• 50 × 75 Inch - Edition of 15

· C Type Print on Fuji Professional Matte Paper

· Prints do not come with frame

· Contact me for Custom Sizes

★ On request a quote can be provided for both Metal Prints and Canvas Prints

I photographed Treeman in Sri Lanka several years ago while travelling through an area filled with palm trees. I noticed this man high above me, making his way between the trees on a rope as he collected coconuts.

What interested me was the contrast between his small figure and the sweep of the palms surrounding him. From where I was standing the whole scene looked slightly precarious, yet for him it seemed completely ordinary.

I remember this photograph particularly clearly because afterwards he gave me one of the coconuts he had collected. It was a simple gesture, but it stayed with me and made the photograph feel much more personal.

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LIMITED EDITIONS

• 29 × 44 Inch, Edition of 30
• 40 × 60 Inch, Edition of 20

• Giclée print on Hahnemühle Photo Rag paper
• Print supplied unframed
• Custom sizes available on request