16.10.2026 Essay Film in the Age of the Endless Feed The feed moves at the speed of a held breath and a roll of film takes a fortnight. On being out of step, and why I have stopped minding. Read →
15.10.2026 Technique Film for Night and Concert Work: What Holds Up Portra 800, CineStill 800T and pushed HP5 in dark Brisbane rooms: which stocks survive a gig, and what matters more than any of them. Read →
14.10.2026 The Work Photographing a Run Club Without Slowing It Down The run is the job and the photographs are a side effect of it. How I shoot a club at pace without anyone waiting on the camera. Read →
12.10.2026 Brisbane Golden Hour in Brisbane, Month by Month Queensland keeps its clocks still while the sun wanders, so the city's best light moves by nearly two hours across the year. A working map of it. Read →
09.10.2026 Technique Direct Flash, and Why I Point It Straight at People The case for the hardest, least fashionable light there is, and how I use it at night on film and digital. Read →
09.10.2026 The Work How to Brief a Photographer for a Lookbook What a good lookbook brief actually needs to say, and what it can safely leave to the day. Read →
09.10.2026 Gear The Camera I'd Save in a Fire Not the most expensive thing on the shelf, but the one I have stopped noticing, and why that is worth more. Read →
06.10.2026 The Work Photographing Fighters: Wraps, Sweat and the Waiting Notes from the gym floor: the wraps, the heat and the long hour before the bout, which is where the pictures are. Read →
06.10.2026 Brisbane Shooting Film in Brisbane: Twelve Places I Keep Going Back To Twelve Brisbane photoshoot locations I return to on film, and what the light does at each one. Read →
02.10.2026 The Work What Makes a Good Band Press Shot, and What Doesn't A press shot has to read at postage-stamp size, survive an editor's crop and still sound like the record. Notes on what matters and what doesn't. Read →
01.10.2026 Technique The Best Film Stock for Portraits in Queensland Light Portra, Ektar, HP5 and the rest, judged against a high subtropical sun and the faces in front of it. Read →
30.09.2026 Technique Where to Develop Film in Brisbane: A Working Photographer's Lab Notes Less a directory than a set of working notes: what I ask a lab before my film goes into their chemistry. Read →
29.09.2026 On Film Thirty-Six Frames Is Plenty Why a hard limit of one roll makes for better pictures, and better attention. Read →
23.09.2026 The Frame Switch: A Night in Direct Flash Cafe Del Mar after dark, a flash pointed straight ahead, and the people who came to be seen. Read →
21.09.2026 Technique How I Rate My Film (and Why I Overexpose) How to rate film for the way you shoot, and why my Portra 400 lives at 200. Read →
12.09.2026 The Frame Femme, on the Rocks A coastal editorial made in one afternoon on 35mm — granite, flat tropical light and a subject who knew how to stand still. Read →
07.08.2026 Brisbane The Four O'Clock Gold Brisbane light is brutal at noon and forgiving by four. On planning around the city's best hour. Read →
14.07.2026 The Work The First Ten Minutes of Any Portrait The photograph is made before the camera comes up. Everything that matters happens in the first ten minutes. Read →
13.07.2026 On Film Grain Is Not a Flaw We tend to sharpen every image to death now, and grain is the last honest texture left. This is why shooting film allows it to hold purpose. Read →
09.07.2026 Brisbane Shooting Brisbane. Heat, Haze and the River. I came home and had to re-learn the light. What subtropical Brisbane does to a roll of film, and why the haze off the river can be a gift. Read →
27.06.2026 On Film Why I still shoot film in 2026 Thirty-six frames is a discipline, not a limitation. A few words on why I never really left film behind. Read →
13.06.2026 Technique Metering for skin on Portra 400 Overexpose, protect the shadows, trust the stock. My working notes on getting skin right on colour negative. Read →