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Moonrise, Atacama Desert, Chile
Hand Toned Cyanotype
My working life was spent in Computing the last 30 years in the music business.

I have had an interest in photography since I was given my first camera, a box Brownie at about age 10. A couple of years later I set up my own darkroom mainly to save on the cost of printing as I had to pay for it out of my pocket money. When I started working and could afford to buy cameras for myself I moved on to 35mm.

In the early 1990s I joined the Royal Photographic Society and hold the distinction of Associate Member.

Sunrise over Tangle Creek, Yellowstone, USA
Platinum/Palladium Contact Print
When photography started to shift towards digital, I had by then got my own home computer and a copy of Photoshop 5 and made digital prints.

When I retired (12 years ago) I decided that I did not want to continue making images using the computer, so I signed up for a yearlong course on the Practical History of Photography run from his studio in Richmond by the renowned Alternative Process Photographer Terry King. Followed by 2 years assisting Terry in his studio.

The course covered not only the history of the early inventors of photographic processes but afforded the chance to actually make prints as they were made from the 1840s to the early 1900s.

All early photographic processes were contact prints requiring a negative the same size as the final print. I make my own negatives suitable for the process that I am using, Cyanotype, Salt print, Kalitype, Gum and Platinum. These of all of the processes covered on the course I have chosen to concentrate on, because they give a handmade look to the final print.

All prints are made on hand coated paper using brushes and the relevant photographic chemicals. They are then developed and fixed using traditional methods.

I have recently made a series of Platinum/Palladium prints on Somerset Velvet paper of winter in the Rocky Mountains. Substandard prints (as there are many due to the nature of the processes) I overlay with a print from the same negative but in a different process resulting in a print that has the characteristics of both processes and a totally unique appearance. 90% of the prints I now make are ‘Alternative Process’, the remaining 10% are digital for special purposes such as Natural History.
Roundup At 20° Below
Gardner Wyoming, USA

Platinum/palladium contact print on
somerset velvet paper
Early Morning, Tangle Creek
platinum print
Great Sand Dune
Brush toned cyanotype over platinum.
Misty Valley
Cyanotype over platinum
Sunrise over Tangle Creek
Yellowstone, USA

Platinum/palladium contact print
on Somerset Velvet paper
Moonrise, Atacama Desert, Chile
Hand toned cyanotype over a platinum
Palladium Contact Print on Fabriano
Artistico paper
After The Storm
Gum print over platinum
The Old Store, Bodie
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