With this project I wanted to break the preconceived notions of “the frame” in a photograph. By using mirrors I reflected scenes that weren’t in front of the lens into the image.

One of my favourite things about photography is how you can change the perception of the world around you. With photography you can not only blur a waterfall or stop a drop of water but you can change the fundamental ways in which we see the world. The best way to do this is by changing the vantage point.

By combining a slow shutter speed and a high vantage point I can shift the way the viewer sees the world. The photos in this series are meant to be disorienting and even confusing. They are shot in such a way that most of the time there is no defined ‘up’ or ‘down’ with the only constant being the pole, grounding the viewer to the Earth.

Film is a natural counterpart to this project. The process of putting a camera on a pole gives an inherent unpredictability to the image. There is no real way to compose the image precisely or to know exactly what will come out on the other side and film only extends that. Film introduces new variables, new inconsistencies, and new factors that can’t be accounted for. This makes each image unique. There are no do-overs and requires capturing the moment when you want, not waiting for the moment to come to you.

One of the unique characteristics of Savannah is how much of the city is laid out. A particularly interesting feature are the alley ways that join a set of two streets together, giving access to the back of each house and providing a clean, unbroken façade on the main street. With this project I wanted to focus on these side streets, the part that you’re supposed to ignore when driving around the city.

The goal of this project was to use colour to convey emotion. I shot the fountain in Forsyth Park which, at night, is lit by a variety of coloured lights.

Each photograph is a roughly two hour exposure showing the rotation of the Earth against the night sky.

War is a concept that most people don’t understand. It’s abstracted into raw numbers; the number of dead, the number of soldiers deployed, or the number of dollars we spend. There has always been a glory to war that has been exaggerated through books and video games, TV shows and movies.

To many, war is a game. It’s nothing more than maps on a screen with colourful arrows. The game of war has penetrated out society to the deepest levels, there are toy guns for children and once they grow up hyperrealistic video games that have more blood and gore than the real thing. But in these games no one pays the price, the dead live on and there is always the knowledge that the foam darts can’t hurt you.

I wanted to explore the idea of the ‘playfulness of war’ and how we’ve turned it into a game. The viewer isn’t supposed to mistake these images for the real thing, in fact they are meant to be playful images full of fantasy. The images are of an absurd set of characters in less absurd situations.