Hover Ed. 1 of 2

Stanwell Tops, South Coast, NSW, Australia - 2016

I like to stand on clifftops and scan the horizon. On this rain-soaked afternoon, a band of rogue clouds hovered low, above the Pacific Ocean, below a crying, grey canopy.

'Hover' encompasses some of the vital elements of my creative process: clouds, ocean, horizon and the light moods that shape them.
It references my lifelong devotion to horizon daydreaming and finding places to tune out and gaze into the future, fueled by memories and ideas for photographs I have yet to create.

This piece is centred on 90x60cm paper with a 4cm white border. The print is dry-mounted to an acid-free 5 mm foam board using an archival adhesive film. The white, hand-crafted shadowbox 4cm deep frame is made from FSC-certified Tasmanian Oak and protected by durable 3mm museum-grade plexiglass. The back of the frame is finished with framer’s tape and stainless steel hanging wire. A signed Certificate of Authenticity is supplied and attached to the back of the frame. The finished frame size is 92.5 x 66cm

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'My first attraction to photography was through the pages of 1970’s surf magazines. Inspired, I saved for a Pentax and a cheap 400mm lens, then began photographing my friends surfing. I was full of teenage ambition to see my pictures on a magazine’s page. After a week of waiting, the Kodachromes would come back from processing. I would project the best on my bedroom wall, imagining them as magazine covers with mastheads and headlines. During the mid-'70s and '80, there was some limited publishing success. But even more fun and adventure travelling to various surf locations worldwide. Travel opened my photographic soul - it encouraged me to understand my craft better. I discovered (and devoured) the images and teachings of Ansel Adams. Practical instruction came via many workshops conducted by contemporary masters of photography. I was also very fortunate to receive mentoring from iconic Australian photographer David Moore. This mix of 'on-page' and in-person tuition taught me to photograph with precise techniques and greater reflection. I would make photographs for many years using only large and medium format cameras. Later, I settled into a professional photography career in Newcastle, Australia. I was a busy pro, commissioned by local, national, and international clients. All the while, though, I made pictures for myself. Everyone needs a hobby as a break from everyday work, and mine was photography - despite my day job. In 2006, I almost permanently lost my sight after eye surgery. It took several years for my eyes to recover and longer to come to terms with the associated depression. The recovery period gave me more time for my ‘hobby’. I used it to express how that smeared vision filtered the world in the months immediately after the surgery. I was drawn to disguising scenes and details with blur and motion.’
COVID and travel restrictions brought forward his planned retirement from Corporate Photography. He now devotes more time to his personal work while working part-time as a Creative for Apple.
Paul’s work can be found on Instagram ( @lightmoods )