A self-taught photographer, Michael began experimenting with light and its effects on light sensitive media when he was given a Kodak Brownie Starlet camera around ten. 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 has 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. Starting with a full ‘canvas’, he seeks to de-clutter it is using the right vantage point and lighting.
Michael’s photography ranges from architectural/industrial through to images inspired by the natural world, and ranges from broad landscapes to details within landscapes, with patterns and textures playing a large part in the images.
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 then Photoshop can be used for final editing, before preparing it for printing, projection, or conversion to sRGB for the web. When printing, photographic papers are used from the Ilford Galerie range and UltraChromeHD Pigment Inks.