Entered the Sydney college of the Arts (SCA), Visual Communications Course.
In the first year I was made aware for the first time of the processes of photography in a basic course conducted by Jordan Riak for design students.
Riak said that 'to take good photos you had to wear out pairs of shoes' which I put to good effect by covering many miles of the streets of Sydney and Melbourne in search of photographic material.
Photography became the emphasis from then on.
An introduction to Max Dupain was fortuitous but while encouraging, Dupain emphasised the Importance of finishing the SCA course.
The idea of being a photographer of architecture was born under the tutoring of Colin Beard Photographer and I finished the design course in 1983 with this in mind.
I showed my photography major to Max Dupaln but there was no job forthcoming at the studio.
The first opportunity for work came in the form of Graphic Designer at The National Institute of Dramatic Arts (NIDA).
This gradually metamorphosised into a photography position requiring the photography of the Students for portraits, in rehearsal and in plays. One Interesting theatrical project being the student performances of Striclty Ballroom with Baz Luhrman as an actor.
Miraculously in 1989 Dupaln did decide to Interview young people for student work and photography assistance. The interview led to a period of intense learning for me, especially 5x4 or large format camera work to make myself employable.
The aura of Max Dupain was very large and photography was all consuming.
With the death of Max Dupain In 1992 I took on a co-management role at the studio with Jill White, who had worked with Dupaln for over 20 years.
The architectual work continued but I wanted to create a database of the films and jobs already in the archives of Max Dupain & Associates and continue the process. The database began in 1992.
An important part of the job of commercial and architectural photography is to record and file jobs so that in the long term they can be referenced for either the client or the publishers and exhibitioners are Interested in that particular history of the past.
Since then I continued to photograph for established clients such as Harry Seidler, Ken Woolley, Andrew Andersons, Clive Lucas, Ian Stapleton, Bob Stevenson, Woods Bagot, Bruce Rickard and Robin Dyke while also working with new architects and designers on the scene such as Carolin Larcombe, Nicholas Solomon, Emili Fox, Sam Crawfprd, Lindy Wright, Kooi-Ying at M+N, Bill McMahon, Richard Archer, Bob Stevenson, Pike Withers and George Hrdina Architect.