Over the last year or so I have started to develop a project on the world of Bangers here in the UK, following on from the work within my book Macchina.

It’s social documentary, it's a 'state of the nation' piece. Frustration and anger,demonstartions, violence are all part of our world right now.

Documenting the world of bangers is a vent - smashing, destroying at a basic level enables some calm.

All shot on film. I will shoot through 2025 and publish 2026/27 with an accompanying exhibition.

In this page i am showing a selection of ongoing work I do around cars. They could be racing or just sitting by the side of the road. My fascination has been about people and cars, how people resond around cars.

Ayrton Senna. Well what can I say, it’s all be said, gone through with a fine-tooth comb….

During the winter of 1993 I started working on a book I was to produce with Damon Hill. It was going to be all about his 1994 season, racing with the all-time great Ayrton Senna.

Damon and I watched on like small children as Ayrton went about his duties within Williams GP team and his personal business. Damon and I would come back from eating dinner (we were at Paul Ricard in the south of France) to see Ayrton in his car drowning in faxes. He was non-stop.

Over those few months before the start of that season Ayrton would chat with me and was interested in the work that Damon and I were doing. The team was very close and it was the most amazing experience to be part of such a huge set up like this.

On the Thursday of that weekend when we all arrived at the circuit, Ayrton handed me an envelope saying have a read and let me know on Sunday night what you think. It was an invitation to do some work with him too...

We all know what happened that weekend in Imola, but for me as a close observer it was just awful and still lingers in my mind to this day.

This Image of Ayrton has sat in the filing cabinet for 24 years. I came across it by chance whilst looking for something completely different.

I was standing in the middle of the garage and turned to watch him put his helmet on before he left the garage for the first session on Saturday morning. 

I took the picture, not so special at the time, but twenty-three years later I can’t help but notice how incredibly poignant it is. The look on his face against the white wall of the garage tells such a story.

Nemophilist - A person who has a fondness for forests woods, and woodland environments.

The word comes from the Greek wods “nemos” (grove) and philos (affection), reflecting the love or fondness for these places.

I take simple delight in the mere observation.

Some Views that I love.

Mainly from job's on the road or from my bike.

These images are made on both film and digital, 35mm and large format.

Observations on my walks and travels, mostly whilst rushing to a job or meeting or things that just capture my attention.

Images from stories and eneral observations that catch my eye.

Images from the many and varied trips to far flung places i have travelled to.

The Images are all from commissioned work, books and magazine articles.

Blackand white images from various locations. All images are part of commissioned stories for publications or books.

Situated 5 miles from a railway that sells more first class tickets than anywhere else in the UK lived a family living a simple life. No running water or electricity! their landlord refused to upgrade their home although on a tenancy agreement. They coppiced the woods and all lived together.

They we'r eventually kicked out and moved to a new house a few miles away. Soon after the parents died.

I understand the two boys are still coppicing.

Images taken in 1996.

In the Late 1980’s I started work with Linford. But the real strong images came with him in Lanzarote in 1992 prior to the Olympic games in Barcelona where he won gold! we worked on several books during the period ending in 1997. Now these images will be used in a documentary about Linford and an interview with me and my time doing this work.

'Mama dont let your babies grow up to be cowboys'...... Willie Nelson.

In the Late 1990's whilst on assignment for Levis Strauss in Tulsa I met a man who assured me that the way of the cowboy was over, the struggle had become too much. The iconic figure that is the cowboy was vanishing fast.

How could this be? How sad for me, having grown up with such heroes as 'The Virginian'... John Wayne, the great films like 'The Searchers' made by John Ford, filmed in Monument Valley. 

So off I went to tell the story, show the land and how the elements impact the day to day life being a cowhand in the west. Like many that had gone before me I had a vision of how I was going to photograph this. In my research and through the influence of a good friend and fellow photographer Ken Griffith I would shoot on large format film, 4x5 and maybe 8x10 and my trusty Leica M6's. I would shoot polaroid film, Type 55 which gave me a negative to make prints with, a panoramic camera from Hasselblad. But the man who influenced me the most was Erwin Smith, the Cowboy with a camera. Erwin Smith would ride the range with his plate camera and plates strapped to his horse and off he would go. Erwin worked mainly in the southwest, a region that is dry and hot, Rocky canyons and flat high desert. Silence broken only by the hot breeze that would whip up dust devils, a rotating column of dust, or the tell tell rattle made by the tail of the rattle snake.

All very romantic but the reality was that the cowboys way of life was in a state of change, low cattle prices, environmental issues, government restrictions on land use and of course drought, almost twenty years of below average rains have resulted in the ranchers no being able to grow the grass needed to feed the livestock.

This journey or rather labour of love took nearly five years to complete. After the first couple of trips to actually find out how the story was going to unveil itself to me it was commissioned by Macmillan in the UK and St Martins Press in New York.

Now as we head towards the twentieth year since starting the project I will be re publishing it. Although the first imprint was printed in both colour and black/white the new version will be solely black/white. It will also enable me to revisit some of the places I went to long ago (although I keep in touch with many of the people I photographed), I have some old Type 55 polaroid film plus regular 4x5 black/white film stock.

The image of Shiprock in the northwest corner of NM has an interesting bit of folklore. It was told to me that back in the day the Navajo Indians hid in the rock as the Soldiers tried in vain the massacre them all. The Indians proceeded to ride around the rock with the soldiers chasing, the Indians went so fast they came up behind the soldiers and finished them off.

Throughout the duration of this project I had the wonderful opportunity to drive around and explore an area of the USA that is well off the two lane black top. I would travel down dirt tracks, getting my hire cars stuck in mud and rocks. it enabled me to meet and stay with families who have become great friends. Their struggle seems to be continuing but most seem to be adapting so maybe the Iconic figure of the Cowboy will continue to enthral both young and old.

Peter Ingram, Lives in Selbourne, he has lived in one spot for over 40 years. He is a Gypsy and is a protector of the old Gypsy traditions.

I first met Peter about 20 years ago in 2000, we talked and said we should do some pictures together - we got there in the end. I will return and do more and listen to his recollections of a time that has passed.

‘I was on the road with horses until 1968, Then vans (motorized trailers) until I bought this place in 1975.'

In 2010 I bought a Polaroid camera with the 600 series film to take on my honeymoon... It was fantastic having the instant picture that we all grew up with, remembering how we as a family covered the fridge with polaroid images.

This sowed the seed for an idea to photograph the British coast in Polaroid. I got a SX70 and the last boxes of film from Polaroid and off I went.

For the first time in ages people would smile at me rather than the usual glare people give when a camera is pointed at them. People would stop and talk about what I was doing.

The images were published in a book called Seaside polaroids by Prestel in 2013.

This is a story of adoption and finding my father. More text to follow.

SImon Clark is one of the worlds top male models, I bike ride with him and we chat about our respective careers etc. What became apparent is that he, having been the face of Mont Blanc for so many years has grown up, matured and is looking for work in a different area of fashion plus styling and directing shoots.

Slowly our character is evolving, a man slighly odd who roams the South Downs and beaches in all sorts of weather. Going where who knows.

Francie is a mountain biker amongst other things and I have wanted to do some pictures with her for a while and she has the perfect look for this story.

I have a longing to shoot more story based campaigns. This comes from years travelling to wonderful places and imagining what could be done if only I had a top model, top brand behind me.

We spent the day shooting several different themes around where we live in West Sussex.

Authentic imagery that is the key for me.

I had worked in Africa with the UN over a few years, visiting many areas ravaged by war by food crisis and of course HIV/AIDS. The complicated inter action between food crisis and illness meant that in some cases I didn't really know which story I was shooting.

For example the 7th picture of the mother holding her baby... this was shot in northern Ethiopia. I had been alerted that there was potentially a food shortage and that the 'F' word was about to happen again in the region. The 'F' word is famine, a word that is overused in an attempt to get donor activity moving, the good news is that the system now is so good to warn of food crisis that 'F' is normally avoided.

Myself and a friend had travelled for days to get to the region, my pal Tom a cameraman for AP at the time, had seen this all before and was not convinced that there was famine in the region. However we did start to see animals that had died (a sure sign that the area was in a critical state) and people leaving their homes.

The mother and child seen in the 7th picture were walking around and began talking with us. The child was suffering with some malnutrition, chronic diarrhoea and had sadly tested positive for HIV.

The composite images were taken in Darfur in 2007. After convincing UNFPA that it was worth getting me into Darfur to do this story of Genocide by doing an 'Art' project I would get them an exhibition in the west end of London and the Sunday Times magazine would run the story...both happened.

The feet of the women that have run to freedom, the mouths that screamed in silence... The women on the black background is made of about 50 or so images, the clothing that was removed so the women could be raped!

The image of the women's eyes after the feet image is particularly sad tale and one that I still find hard to recount.

I was photographing at a camp near Nyala and this woman wanted me to make her portrait...whilst taking her picture she was talking and talking at me... my translator asked if I wanted to know what she was saying.

Of course.

This ladies village had been attacked, her husband and son murdered in front of her. 

She was raped.

A few months later the village was attacked again.

This time she ran, running for days she just kept running.... until she passed out!

She woke to find wild dogs eating her miscarriage.......

she then ran some more until she was received at the camp where she works.

How I would love to know how she is.

These image where used by George Clooney and his site 'Not on our watch'.

They have also been shown at many universities around the globe to highlight the effects of genocide.

This trip was not without its own issues nearly getting shot, almost enduring a rocket attack and of course a rather serious dose of the Delhi belly.

All these images relate to a story that is very hard to get to the bottom of and I wish deep down that I could go and re visit, but times have changed and its harder to get access into these areas.

Two stories towards the end were shot within days of each other, one a story of a camp in the Bale mountains in south central Ethiopia, the most beautiful green mountains away from the madness of Addis. The camp had been handed over to a group of internally displaced people who had nowhere to stop, on the assurance that there were no soldiers left in the camp. 

On arrival we were greeted by ICRC people who were in a bit of a panic, there were soldiers at the camp and they had been raping the women in the forest. Here lies the issue - this had then brought the HIV virus into the camp. Soldiers on the march can be an issue in the spread of the HIV virus. I had a day and a night to shoot my story and get out.

The second was closer to the capital Addis. I was in the UN office trying to arrange transport somewhere when a lady came in saying she had just heard there was a man who was curing people of AIDS in the hills above!! I grabbed my bag and off I went.. we followed a long line of people up into the Eucalyptus forest eventually coming across a group of small shed like buildings. Between the sheds was a small hill covered in shoes, the owners inside the sheds. Chanting and screaming in a total trance all of them...The man conducting this stopped and turned to me asking what I was doing? when I explained he said no to me taking any pictures and insisted that I be cleansed of my evil... I asked him that surely if he was curing people of this horrible virus that he should let the world know, he would be famous a hero.

That convinced him and I shot my story.

The images from these stories were exhibited in the UN in NY and travelled across Africa as a show and educational body of work, showing people how to protect themselves against HIV.