It’s fair to say I grew up on the set of The Days Of Our Lives.

My home and my back yard was in a brand new suburb called Conifer Grove in South Auckland, New Zealand.

Built on flat, ex-race horse land and crop farms on an inlet deep in the Manukau Harbour—it was cul-de-sac book ending cul-de-sac, each named after an old race horse.

Perhaps the greatest memory I left high school with was of a teacher that opened my eyes to how I could view the world through a camera. The impression she left me with caused me to refine and continue to imagine what it was like to see the world as photographs, and what it might be like to be a photographer.

Sitting still and seizing moment has a lot to do with work I do as a photographer. Glimpses into and out of subtle gestures, moments and brief encounters. My initial priority, when I am shooting, is how it feels to be somewhere, rather than how it looks. 

The cool evening spent in front of the warm fire… the smell of old paint peeling from big gestures of concrete forms; the compression of an empty room and the expansion of a full one. 

We all have a sense of the world because of where we have come from and where have been. That informs the sense of place I feel when I turn up to a building I am photographing for the first time—and the environment I am in.