I very briefly visited the abandoned Russian coal mining settlement of Pyramiden, in Svalbard, one day in August 2010. These photos are from a hurried set of grabbed impressions taken during a short period of time when I'd contrived to have the place to myself. Ideally I'd have spent more time on details, but as a snapshot, I'm not dissatisfied with the results.

Recent Work - Widescreen

This gallery presents some widescreen photos I've taken recently, which haven't yet worked their way into other galleries, but which for one reason or the other I'm pleased with.

Recent Work - Narrowscreen

This gallery presents some photos I've taken recently, which haven't yet worked their way into other galleries, but which for one reason or the other I'm pleased with.

Iceland wide

I never fail to take a panoramic camera with me when I go to Iceland, and there is always plenty of opportunity to use it. The photos here are drawn from trips from 2004 through to 2016.


Tuscany is another magnet location for travel and landscape photographers. It has its fair share of cliché locations, like the first shot here, although I've attempted to do something a little different. The oldest photo here was taken in 2001, the latest in 2016. I always visit Tuscany in the spring, and it largely remains unchanged. But there are a lot less wild flowers these days, and a lot more tourists.

Tuscany is pretty big, actually, and quite diverse. But all the photos here were taken in the general vicinity of Siena.


On the way to Antarctica one time we zigzagged through Argentinian Patagonia. A vast space, with wide, wide empty spaces, and welcoming, hospitable people scattered about here and there. One trip can hardly do it justice, but the world is large and time is short.


The narrow, labyrinthine spaces of the city of Venice are not the obvious location for wideframe photography, but sometimes a sudden surprising opening or horizontal arrangements leads me to pull out the panoramic cameras. I can't avoid the clichéd row-of-gondolas shot, but maybe some of the other photos here show a slightly more unusual interpretation of Venezia.


The Hasselblad XPan is many things, but it is not generally known as a tool for photographing wildlife. In Antarctica in can come into its own, though, since the wildlife tends to be very co-operative. But mainly, a panoramic view frame in Antarctica allows the landscape to breathe, and helps to give some feeling for the sheer vastness of the spaces.

Aeolian Islands

As for a lot of people, islands exercise a strong pull on my imagination. The seven volcanoes that make up the idyllic Aeolian Islands have captivated in particular me, and I feel like I could travel between them forever, maybe hiding away for a while in the quietest corners. This set of photos is perhaps my most successful "widescreen" portfolio. It was very hard to narrow it down to 16 frames.


I'm certainly no street photographer. If I were, these would all be in black and white. But people do sometimes intrude into the frame, and every now and then I even welcome them. Quite probably some of the subjects of these photos are as much tourists as I am, but I'm going to pretend they're all real Venetians, just getting on with living in one of the craziest cities on Earth.


It is a bit strange that living in one of the most photogenic countries in Europe, which people travel from the whole world over to visit and photograph, that until now I haven't really featured photography from these places more or less just outside my door. Most of these photos are from Ticino or close by. A few from a little further afield. And no Matterhorn...yet.


Svalbard is like a dream to me. These photos were taken on a one-off trip in 2010, travelling around the coast in an ocean-going sailboat. It was a good way to get close to the landscape, and probably an experience that can never be repeated.

I'd like to dedicate this set to Sylvia Galli. I hope she finds what she was looking for.


This set is culled from two visits to Norway, the north in winter, and the fjords in spring, neither of which were really dedicated to photography. But in Norway, everywhere you point a camera there's a picture.
Maybe one day I'll complete the set of seasons.

Antarctic Wildlife

Just as I'm not a street photography, I would hardly dare class myself as a wildlife photographer. But in Antarctica, everybody is a wildlife photographer, partly because the wildlife is so photogenic, and partly because the animals make it so easy for us. It's much, much easier to photograph wildlife when it's not running away from you (or indeed running at you).

The photos here were taking over the course of two separate trips in 2014 and 2016.


Italy is endlessly fascinating. Haphazard layer upon layer of history, the epic and the mundane hopelessly entwined, ordered chaos, tranquil noise, lazy, hazy bustle. As an outsider all you can do is look on in wonder. For some reason I've never really spent much time with landscape photography in Italy, although there is plenty of opportunity for that too. I'm pretty lucky to have such a captivating land starting just a few steps from my door.


I've got over 6000 photos of Iceland, taken over a period of some 15 years. This set of 16 will do as well as any other. These days Iceland has practically turned into a photographic cliche, and perhaps a cultural cliché too. It's a victim of its own success, and it might be that the magic is dwindling. Still, to me, Iceland exists as much in my head as outside of it. It's a state of being, and perhaps it means far more to me than mere photography. Iceland is an alien planet, always out of reach.

Whalers Bay

Whalers Bay is the part of Deception Island that most tourist ships visit. It's a desolate place, with a strange atmosphere even in good weather. In bad weather it's downright depressing. The shoreline is littered with remnants of the whaling industry, and the more Imperialist end of Antarctic exploration.

It's also full of history and ghosts. The structures lie tilted, distorted by and half submerged in the mud flows from the volcanic eruptions which led to the area being abandoned. Further eruptions seem to be expected - maybe one day the volcano will wipe Whalers Bay clean.

Photographically, however, if you're inclined towards wreckage and weathering, it's a goldmine.


We discovered Colombia a couple of years ago (much as Colombus "discovered" America), and not a moment too soon.

It's an amazing, diverse country, with just about every type of landscape you could think of. It's vast, too, and away from the big cities everything is very spread out. The winding down of guerrilla warfare has allowed peace and tranquility to gradually return to the countryside. Away from the tourist hotspots the Colombian people are amazingly welcoming and helpful. A beautiful country.

Lost in Venice

I can't keep away from Venice. So much so that it's starting to get harder for me to get lost there. But far from impossible. These days Venice is synonymous with suffocating hordes of tourists, but even though these are now also starting to leak out from the classic hotspots, there are still quiet, near-empty places in Venice where you can really start to realise what an amazingly unreal place this is.

Classic Venice

Even if I prefer to avoid the classic tourist locations in Venice, they themselves are not inclined to let me go. And so I have to pay my dues, and take long exposure photos of gondolas, of St Mark's square, the Rialto, the bridge of sodding sighs, and all the rest of it.

I hope that somehow I've managed to add a slightly different twist at times, though.

Antarctic Icescapes

Antarctica is where is all starts for me. I'm hardly to only person to feel its attraction, but with me it runs very deep. It's also the place where I first realised that photography was a "thing".

Photography in Antarctica, especially digital photography, is tricky. It's my belief that you need to be very patient, and let the photos come to you, rather than rushing around wildly clicking, however hard that is to avoid. I also feel that you need to the let the landscape breathe, rather than try to constrain it in some dramatic, contrasty frame.

Emerald (Lipari)