I photographed these panoramic images on 6x17 and Noblex panoramic cameras. The scanned images were digitally treated and printed on metallic paper for exhibition. They are also available on archival inkjet printing media. Ghost Mountain Air series represents personal visual encounters in rural Kwazulu, South Africa. I photographed the panoramic landscapes with a large format panoramic film camera. The panoramic format suited my experience of the place and space. Strong emphasis was placed on design and the rich textures accentuated by early morning or late afternoon light against a backdrop of stark winter or cloudy summer skies. The descriptive images are of complex found moments, creating controlled equanimity between particular subjects in the environment. The following images are a few examples of the series.

The sky is often used as an exciting background element within landscape photography. It is usually just there, the background for the subject matter that can extend from the foreground to the horizon. The photographer explores the process of foregrounding the sky, with a specific emphasis on cloud-filled sky, to create a visual liminal experience which is somewhat "removed" from the typical landscape context. The removed and in-between state addresses the notion of spirituality, the inner and outer coexistence of the natural and the spiritual. The familiarity of the clouds provides enough visual context to retain a sense of identification. In contrast, the removal, distance, vastness and lack of visual proportion could conjure a sense of awe towards the nonentity. The photographer's understanding of his immediate, personal and finally created visual experience is informed by theoretical perspectives such as liminality and the sublime. The cloudscapes are digitally stitched panoramic exposures of cloud vistas, excluding any visual reference to the Earth. They become visual representations of backlit cloud formation moments within the celestial dome.

We sometimes get used to seeing but not critically looking at what we encounter daily. Sometimes, we notice interesting moments, fleeting in an instant, uncaptured and mostly forgotten as we are flooded by more and more of these moments of places, people and things. This series is an ongoing series of scenes playing themselves out as I move past in a fleeting moment. They can also be categorised as objects. Once framed through the lens and captured, they become objects through which you can appreciate what iSee. These series have sub-categories that group the observations into place, people, and things: iSeeThere, iSeeYou, and iSeeIt.

On a visit to Italy in 2016, I noticed the integral strand of the bicycle in the social fabric weave of normal Italian. Some were fashionable by brand, some by wear, but from what I could gather, the bicycle was a normal choice of transport. It was not a phenomenon that needed to be accommodated in the public transport system, such as in my own country. It seemed like it was the system. As I walked through parts of Rome, Cremona and to a lesser extent, Milan, I found them locked up in the streets, waiting patiently to take the rider to where they wanted to go. Maybe, the bicycle’s important thread in the fabric of society was accentuated by my viewing of the 1948 film “Ladri di Biciclette” (Bicycle thieves).

Panoramic Observations are scanned full-frame Xpan photographs of things within spaces I appreciate as I encounter them.

The town of Sasolburg was built in the 1950’s by Sasol Ltd, the world’s first oil-from-coal plant. The residential areas are connected by a continuous system of landscaped green strips broadening into children’s playgrounds' bays. The maintenance of green strips and parks deteriorated rapidly since the mid 1990’s, eventually resulting in unsafe areas to walk and play. Abandoned playgrounds took on an eery apocalyptical appearance of untimely abandonment.

I photographed this industrial space in available lighting conditions and treated the images to the specific context and nature of the setting.