blue chip

This is where I am most at home. To me blue chip is all about getting on a subject’s wave length. It’s about having the right tools for the job and it’s about being in the right place at the right time. It’s about being technically and artistically on top of your game. Sometimes it’s about having the lungs of a mountain goat and the patience of a python, which is fine by me. Most of all it’s about mentality and what experience you can bring to the table.


golden eagles fight
A sequence for ‘Santa’s Wild Home’. Long hide stints from before sunrise to after sunset.

great grey owl
A sequence in Finland – sub 30°C. Typical long lens job.

grey seal jeopardy
Observation and reacting when anything interesting happened was the order of the day on this island shoot.

grass snake and frog
A certain amount of manipulation is sometimes necessary when time is tight. In this instance I worked with Adrian Seymour to construct this sequence narrated by Michael Sheen.

Filming greater flamingo in the Camargue. An adventure in muck and water. Should have taken a snorkel.

weasel and tree pipit
A mixture of location and studio filming. Weasels – a mysmic blur of where once they were, as my friend John Keeling so poetically describes.

I have filmed just about every aspect of kingfisher behaviour.

One year I spent practically every waking hour tracking common crossbills – what fascinating birds.

Detailed field and studio work of hoverfly life cycle.

cuckoo - unique shot
I’ve filmed various aspects of cuckoo behaviour on many occasions. The field work that went into capturing this will always make it special – despite this grotty copy.

going underground

Sometimes complicated, nerve wracking and sensitive work to film wildlife in their burrows and nesting chambers.