Whilst exploring an old lava field in Hawaii we were subjected to a violent rain storm, so took shelter beneath a lava overhang. Initially out of boredom, but then with increasing enthusiasm I began photographing the shapes and surprising colours of the lava “drips”.

Perhaps not everyone’s cup of tea, but I enjoy them.

Yellowstone is indeed a magnificent place and deserves to be on most peoples'"wish list". I have been fortunate to visit the park on several occasions, both in winter and at times when the weather conditions were more accommodating. I love the big vistas that one can see there as well as the more intimate details that I have posted in this portfolio.

The colours and textures in the run-offs change with temperature so that no two visits are the same.

I love photographing reflections in water, mostly because no two images will be the same, even when taken at the same location by a camera that is on a tripod and hasn't been moved. The eye cannot see what the camera will record because we cannot stop the light for that fleeting moment, which for me only adds to the fun. Some might argue that there is no skill in the photography if you don't know what you are taking when you press the shutter button, but that does not detract from the pleasure I get from this type of image.

I have posted a portfolio of bigger images from this small state park in Nevada, but these small images of the wonderful details of the colourful sandstone give me much more pleasure. I consider them to be a full reward for several days spent wondering around in the heat of the desert.

The rolling hillsides of Tuscany provide a wonderful treasure-trove of field patterns, at any time of the year.

This portfolio was made one July, when the harvest had begun, so that we found fields awaiting cutting, alongside others which had been cut and baled, whilst yet more had already been ploughed. The combination of colours, tractor patterns and crops made for some wonderful photography.

The middle fork of Taylor Creek in Kolob Canyon is one of the less visited parts of Zion National Park. This creek was very shallow when I visited it and it had experienced some early freezing weather which had ice-rimmed the creek edges. The result was a lovely show of thin ice allowing the colours of the bedrock to show through, providing a wonderful day's photography.

Along the high tide area of Spittal Beach on the Northumberland coast there are several outcrops of sandstone that are washed at each tide but are sufficiently high up the beach not to be covered with invasive seaweed. The constant washing has created wonderful patterns in the rocks and revealed quite remarkable colours.

I find winter the most rewarding season to photograph, particularly in the hard conditions that give snow and ice. Living as I do in the south of England, such conditions are not frequent, so much of my winter photography has to be done overseas. I cannot say that I enjoy being cold, but the endless supply of photographic opportunities more than compensates for the personal discomfort.

On the Pembrokeshire coast is an abandoned slate quarry where the slate cut from the cliff-side has left an exposed, almost vertical, cliff-face. I have spent many hours over several visits with my nose close up to this cliff-face, much to the bemusement of other tourists not aware of what I am doing.

I find the colours and textures that are revealed from a close examination of the slate to be amazing. Most of the images in this portfolio are true macro shots, taken no more than a few inches distance from the subject, although a few have been composed on a slightly wider perspective.

There is nothing new in moving the camera (deliberately) when making an image. However, it is a technique that has become much easier - and cheaper - with the advent of the digital age. I am fascinated by the effects that can be achieved by different movements of the camera, even when facing the same composition.

Over a period of eighteen months I set out to make my photographic interpretation of the woodlands of Surrey, the county in which I live, over the four seasons. In this time I took over 20,000 images, most of which were immediately discarded, but out of this surfeit of photography I amassed four seasonal portfolios that I find most pleasing. The results may not be to everyone's taste, but they have provided me with ample reward for the miles that I walked.

Shown here is the summer portfolio - it will be rotated with those of the other seasons over time.

There is nothing new in moving the camera (deliberately) when making an image. However, it is a technique that has become much easier - and cheaper - with the advent of the digital age. I am fascinated by the effects that can be achieved by different movements of the camera, even when facing the same composition.

Over a period of eighteen months I set out to make my photographic interpretation of the woodlands of Surrey, the county in which I live, over the four seasons. In this time I took over 20,000 images, most of which were immediately discarded, but out of this surfeit of photography I amassed four seasonal portfolios that I find most pleasing. The results may not be to everyone's taste, but they have provided me with ample reward for the miles that I walked.

Shown here is the spring portfolio - it will be rotated with those of the other seasons over time.

These abstracts are not immediately identifiable, but to me that is part of their appeal. They are real photographs, not digitally created images, and are aerial shots of sand and sea along the coastline of western Iceland.

I love them.

I love photographing in the US and one of the regions that excites me more than most is the red rock country of Utah and Arizona.

All the images in this portfolio were taken on the Paria Plateau area of Arizona. The best known location in this area is Coyotes Buttes and I have been privileged to trek in both North and South Coyote Buttes on a number of occasions. The big attraction in North Coyote is "The Wave", a most striking multi-coloured rock formation to which first-time visitors quite rightly make a bee-line - but the rest of the region has much to offer once the main attraction has been exhausted.

I have posted a separate portfolio of "bigger" images from the region and concentrated in this portfolio with the small, intimate details, which I think say as much about the beauty of the location as do the wider images.

It takes but a brief look at my website to realise that I am fascinated by rocks and beach scenes.

The Northumberland coast is just one of many around the UK which offers wonderful sands and some rocky shorelines that look great in dramatic weather - but it also has lovely details which can be found by some scrambling and careful scrutiny.

I love the intricate patterns formed by ice, particularly when caught next to running water. I can happily spend ages with my camera set up on a tripod with a long lens, picking out the detail from a partially frozen waterfall.

Iceland is a land of many glaciers that spawn numerous rivers, which in turn spread out into wide deltas as they reach the coast. Seen from the air, these rivers and deltas take on abstract patterns that are never visible at ground level.

Photography has taught me much about "seeing" the landscape, and ice is a great example - before photography, ice was just ice, but now I can be entranced by the various shapes and patterns formed by different ice formations. As a consequence I can spend many hours happily wandering along frozen streams or pond edges where ice has formed.

Located on the west coast of Greenland, 250 km north of the Arctic Circle, Ilulissat Icefjord is the sea mouth of the Sermeq Kujalleq glacier, one of the few glaciers through which the Greenland icecap reaches the sea. The opening of the fjord into Disko Bay is often clogged with huge bergs awaiting sufficiently higher temperatures to allow release into the bay.

We cruised along the mouth of the fjord on two evenings when the setting sun brought out some wonderful colours in the bergs.

Finding myself at a loss one visit to a small state park in Illinois, when I had been hoping for cascading water falls surrounded by autumn colour, only to find no water and that it was too early for colour, I began photographing fallen leaves floating on shallow puddles. Exposing for the leaves darkened the water, such that the leaves gave the appearance of being an arranged still-life on an ebony table - however, the only arranging was created by nature.

Clear Creek runs down from Kolob Terrace on the upper terrace of the national park. It offers a lovely stroll away from the crowds - I was there one public holiday and did not see another soul all afternoon, even though the main park was heaving.

Although dry most of the year, the intricate patterns carved in the rocks are mute testimony to the force of water that has in the past flowed down the creek. Add in the spectacular autumn colours and you have a recipe for a lovely photographic outing.

Black Clough runs off Bleaklow, in the Peak District. The water is stained yellow/orange by the peat through which it has been filtered on the moors, and the water in turn has coloured the bedrock of the stream with some wonderful colours.

Photographed on a sunny day, it looks as if there is a light behind the waterfalls. On cloudy days, the absence of reflected light allows the colours in the water to become more apparent. A magical place to spend several hours wandering upstream.

As is clear from some other of my portfolios, I am a lover and admirer of rocks! I never cease to be amazed by the colours, patterns and textures that can be seen from close examination of rock-faces, cliff sides and boulders on the beach or in desert areas.

It is not surprising therefore that I enjoy the coastline - and some of the most pleasing beaches in the UK are found along the North Cornwall coast. Picking out the detail in the cliffs along the back of the beach can keep me occupied until the tide returns.

The cliffs at the back of beaches are washed and sculptured twice a day, with the result that every photographic session will be unique. It is this quality, together with the amazing colours, that I find so attractive about beach photography, as much as the differences from one beach to the next. Not only do the Yorkshire beaches differ from those of Cornwall, but they do so even as to one beach to the next just a few miles apart.

Some of the streams in high Colorado are strongly coloured from the minerals leaching out of old mines. One such stream near Ouray is bright orange. In autumn the streams become clogged with fallen aspen leaves which the chemicals in the water turn from their normally yellow/brown colour into a rainbow of colours. The images are mostly fleeting as the leaves are slowly washed downstream, giving constantly changing patterns and compositions.

The wonderful sinuous shapes of Upper and Lower Antelope Canyons in Arizona are a magnetic drag to all photographers lucky enough to find themselves in the northern part of the state.

These images were made on film, so that long exposures, often of 30 seconds or more, were required. One consequence was to saturate the colours of the canyon walls, particularly where they were lit by reflected light. The real challenge though, is to find the composition that does justice to the shapes and colours that nature has provided - and which change throughout the day as the sun moves.

It is a long time since I visited these canyons and I understand that photography is now much more difficult, with even a ban on the use of tripods.

There is nothing new in moving the camera (deliberately) when making an image. However, it is a technique that has become much easier - and cheaper - with the advent of the digital age. I am fascinated by the effects that can be achieved by different movements of the camera, even when facing the same composition.

Over a period of eighteen months I set out to make my photographic interpretation of the woodlands of Surrey, the county in which I live, over the four seasons. In this time I took over 20,000 images, most of which were immediately discarded, but out of this surfeit of photography I amassed four seasonal portfolios that I find most pleasing. The results may not be to everyone's taste, but they have provided me with ample reward for the miles that I walked.

Shown here is the winter portfolio.