Behind the Scenes shots of the crew celebrate those who are the heart of any production. In 1990 I took my camera, a Nikon 801 on-set for the first time and started photographing my crew workmates. ‘Waiting’ was an Australian feature film shot in and around the country town of Cessnock, about 2hrs drive north of Sydney.

This was the beginning of what has become my tribute to and celebration of all those people who work in this world of Film and TV. It has become an archive of over 100,000 images shot on film productions throughout the world over the last 35 years.

My cameras changed over time. In 1992 I discovered the Widelux Panoramic camera, it’s 2.33:1 aspect ratio allowed me to include more of my subjects environment. One camera on my belt became two in 1998 when I added the compact Konica Hexar with its fixed, and my favourite focal length, 35mm f2 lens.

In 2001 I had my first exhibition, a joint show with painter/artist and fellow member of the camera department, Jason Binnie, check out his work here. The results of sales allowed me to purchase my dream camera, a Leica M6 with 35mm f2 lens.

In 2002 I shot my first digital images on ‘The Great Raid’ with a borrowed 4mp Sony. ‘Charlottes Web’ in 2005 was the last production I recorded on film and in 2007 I took the plunge and bought my first DSLR, a Canon 30D to take away with me to China on the ‘Mummy, Tomb of the Dragon Emperor’.

That film marked my commitment to digital, no more long hours in the darkroom. Too much of that in my previous life as a photographer’s assistant to have any sense of loss. There was no romantic notion of the artist creating magic under the glow of the orange safelight for me.

In 2010 the smartphone arrived, images soon started to find their way onto the internet and photography on set was forbidden. My output was reduced considerably as I was no longer free to shoot. It didn’t stop me but any imagery was taken undercover.

I found this extremely frustrating to be restricted in this way, especially as I was the last person who would post an image prior to any productions release. In 2014 I made the move into Unit Still Photography. With this new role, I was officially allowed to shoot whoever I wanted on set and free to continue my documentation of crews on set.

It’s been a great run and I’ve had amazing experiences, every day on set is different and there is always something new to shoot. I hope to continue this process for many years to come and look forward to showing them here on this website.