It's about photography

Magda floats down for a photo shoot on a rainy summer day along the British coast.

I've had numerous emails from people wanting to see more of my photography and asking about buying images. As you know I do respond to every email but to make things a bit easier here's where you can find my work.

I also have portfolios on numerous photography community websites. I plan to do a review in the near future on these websites and my experiences, which have not always been positive. Having said that I've made friends with wonderful photographers across the globe. Hi guys!

I also sell Rights Managed and Royalty Free images for editorial and advertising. Please contact me for more information on the licenses available for the particular image you have chosen.

I am available for photography and writing commissions, and work mostly in the UK and Western Europe. Happy to discuss any proposals.

Hopefully this covers some of the FAQs. You can find out more about me here if you are so inclined.

And please remember, all photographs belong to someone and are automatically copyright. Before you use an image you have to get the author's permission. In my case all of my images are "All rights reserved" and may only be used if I have given permission in writing.

Well that's more than enough about my stuff. Thank you for your interest in my photography.

Cheers,
Paul

Comments

The Story Behind the Stories in My Photography

Thank you for taking the time to explore my work. Photography, to me, is a meditative act—an opportunity to be fully present and notice the smallest details. The interplay of colour and light, the textures and shapes, the shift of an expression, a gesture — these subtle moments bring me pure joy. They are why I love storytelling and creating visual poetry. Every image in my portfolio is born from a moment of connection or curiosity. Whether I’m in a bustling city street, a quiet room, or a remote location, I aim to create photographs that resonate with empathy. Take "The Cyclists," for example—what appears to be a simple scene of people pedalling along the pier transforms into a visual symphony of movement and stillness, the hurried energy balanced by the serene focus of the riders. This interplay between action and calm often draws me in. I’m drawn to capturing the essence of a person—their inner world, not just their outward appearance. My approach often dances between the...

Overcoming creative block and self doubt

Every photographer, for that matter every creative, I've ever met comes to a point when they're not happy with the work they're producing. The pendulum between creative highs and dry spells swings continuously. For some the cycle is long and the bouts are quite mild for others the feeling of doubt about their work can be a crushing experience which returns all to frequently. It's actually quite healthy to have these periods of doubt because it can often be the beginning of something new and interesting which takes you further than you thought possible. Creatives in the commercial world have to always perform and although they may agree looking back that they've had a few patches where their work was less good, they always seem to bounce back. A very few creative geniuses deliver such high quality work that their poorest attempts still surpass the rest of us. But I have never heard of anyone, from tortured soul of Van Gogh to the supreme showman and genius, Salvador ...

What You Photograph Reveals How You Think

Photography is often described as a way of seeing. Less often do we talk about it as a way of thinking. What you choose to photograph, and just as importantly what you ignore, quietly mirrors how your mind works. Some photographers are drawn to faces, micro-expressions, emotional spikes. Others chase atmosphere, light, mood. Then there are those who gravitate towards structure, systems, order, the invisible logic holding a scene together. None of this is accidental. The camera becomes a sorting tool. It reveals what your brain prioritises. Where others see chaos, you might see alignment. Where some look for drama, you look for balance. Geometry, repetition, flow, layers, these aren’t just visual preferences, they’re cognitive ones. Strong graphic images tend to come from people who think spatially. Who notice how things relate before they notice what they mean. Lines before labels. Structure before story. And yet, the best images rarely stop there. They gain depth when human pres...

Beyond the obvious

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