Offshore Walk-to-Work Transfers

Crew transfers offshore are all about routine, discipline, and trust in the equipment. These images show the daily process of moving between vessel and platform via the Walk-to-Work bridge.

The W2W system is straightforward in purpose: to give workers safe access. These photographs focus less on the structure and more on the people — the steady flow of personnel, kit bags in hand, crossing in both directions. It’s a reminder that offshore operations are built on repetition and reliability, not just engineering.

This series continues my documentation of offshore work and life at sea. For more, visit my Wind Industry and Industrial galleries.

TRNSMT Festival – Underworld

Glasgow’s TRNSMT Festival always delivers on atmosphere. This year, the iconic electronic duo Underworld took to the King Tut’s Stage, and I caught the energy of their set through a series of quick iPhone shots.

The photos show both sides of a live event — the performers under bright lights and the crowd lost in the moment. From stage silhouettes in heavy smoke to close-up festival moments, the black and white treatment keeps the focus on the emotion and movement rather than the distraction of colour.

This series is part of my ongoing documentation of people and events. For more, take a look at my People gallery or explore wider projects in Places.

Crew Transfer Vessels in Offshore Wind: Farra Grainne at Work

These images focus on the Farra Grainne, a crew transfer vessel working offshore within a wind farm environment. Taken in calm conditions and clear light, they show the vessel in a few different contexts: close alongside, moving away through the field, and positioned next to the structure during transfer operations.

In offshore wind, crew transfer vessels, usually shortened to CTVs, are a core part of daily operations. Their job is to move technicians and small teams between shore or a mothership base and offshore assets such as turbines and substations. They are specifically designed for that role, and in many projects they remain the preferred transfer solution for sites closer to shore. 

The transfer itself is one of the most important parts of the process. Industry guidance from G+ and the Energy Institute is built around the principle that people should not fall into the sea or become trapped between the vessel and the offshore structure during transfer. That is why vessel design, operating procedures, competence and transfer arrangements matter so much. 

It is easy to look at a wind farm and focus only on the turbines, but the day-to-day operation relies on far more than that. CTVs are one of the clearest examples. They are there to move people, equipment and capability around the site, and without them a lot of offshore maintenance simply would not happen in the same way. General guidance on offshore wind service vessels also notes that CTVs are designed specifically to transport service teams and are commonly fitted for transfer work against offshore structures. 

Evening Light at Arbroath Harbour

Arbroath Harbour is always full of character, from the energy of locals leaping into the water to the calm stillness of sunset over the lighthouse. These moments, captured with my iPhone on a warm evening, highlight both the vibrancy of the community and the quiet beauty of the coastline.

Harbour life brings together energy and calm in equal measure. To see more of my work exploring Scotland’s coastline and industry, visit my Places and Industrial portfolios.

Framed Moments with Loxley Colour – Printing & Framing

I’ve always believed that the way photography is displayed is just as important as how it’s shot. Recently, I had several of my images printed and framed through Loxley Colour, and the difference is more than just visual — it’s tactile, elevating, and deeply satisfying.

Loxley Colour is a professional print lab based just outside Glasgow. They’ve been serving photographers for over 30 years, offering hand-crafted prints, fine framing, and a huge selection of frame profiles (37 different styles) to suit everything from rustic to modern. 

For these frames, I chose finishes and mouldings that complement the tones and feel of the photos. The framing gives structure; the print quality, colour accuracy, and materials show every detail clearly. What I love is how light plays on the frame and matting — the edges become part of the experience.

Every print arrived beautifully packaged, with consistent blacks, sharp detail, and faithful colour rendering — exactly what I expect in work I’m proud to show in homes or galleries. Many photographers praise Loxley for the same (colour accuracy, prompt turnaround, and excellent customer service).  If you want your images to stand out, this level of print & framing craftsmanship really makes the difference.

If you care about how a photo is displayed — the edges, the frame, the paper — then lab and framing choices matter. Loxley Colour has become my go-to for remastering prints into showpieces. For more of my work framed and printed, browse the Places or Industrial sections of my gallery.

Urban Seagulls.

Urban Seagulls

Seagulls are so familiar in coastal towns that they're easy to overlook photographically. These two black and white images take a closer look at how they occupy man-made environments — not as visitors to the urban landscape, but as permanent residents entirely at home in it.

The first shows a gull perched against a backdrop of concrete and steel, the hard geometry of the structure contrasting with the softness of the bird's plumage. The second places one near a fairground ride — an unlikely combination that works because both belong to the same seaside world.

Shooting in monochrome suits this subject well. Without colour, the focus shifts to form, texture, and the relationship between the bird and its surroundings. Gulls are bold, adaptable, and largely indifferent to people, which makes them easier to photograph candidly than most wildlife.

Both images were taken in the Angus and Aberdeenshire area of Scotland — locations where the boundary between town and coast is never far away.

For more wildlife and coastal photography, explore the Places gallery.

Offshore Substation – The Beating Heart of a Wind Farm

An offshore substation (OSS) is the critical hub of a wind farm, where the power generated offshore is collected and transmitted back to shore. Sitting high above the waves, it is one of the most striking structures in the renewables industry.

From the vessel bridge, the platform is an impressive sight in the distance, glowing gold against the sea at night. These substations not only represent engineering excellence but also play a vital role in the delivery of clean energy across the UK and beyond.

Exploring and photographing offshore substations is always a privilege—capturing them from both the technical working perspective and as powerful silhouettes on the horizon.

The offshore industry is full of dramatic structures and scenes, from turbines to substations. You can explore more of my work in the Wind Industry portfolio, as well as my wider Industrial and Places collections.

Everyday Scenes in Black and White

Everyday Scenes in Black and White

Not every photograph needs a dramatic location or a significant subject. These two images are about ordinary moments made graphic by the removal of colour.

The first isolates a pigeon in flight against a clear sky, with architectural detail in the background providing scale and context. It's the kind of shot that comes from slowing down and watching a familiar scene rather than looking for something new.

The second captures a lollipop man walking away from the camera, his shadow stretching long across the pavement. The high contrast and strong directional light reduce the scene to shape and tone — the figure becomes almost abstract, the shadow more present than the man himself.

Black and white street photography works best when it finds structure in the unremarkable. Both of these images are from everyday locations in Scotland, and neither required anything beyond patience and timing.

For more black and white work, visit the main portfolio or explore the Places gallery.

Cromarty War Graves and the Old Churchyard

These two photographs were taken in Cromarty and show two closely connected parts of the same place: the older churchyard ruins and the formal war graves section with its cross at the far end of the cemetery. Together, they say quite a lot about how much history can sit in one small Highland town. 

The first image looks into the old churchyard, where the ruined Gaelic Chapel and older burial ground give the place a much longer timeline than the neat lines of the later war graves. The chapel is associated with the Gaelic-speaking community in Cromarty and now survives as a ruin within the burial ground. 

The second image shows the more formal military section of Cromarty Cemetery, where the graves are arranged around a War Cross in the newer extension. According to the Commonwealth War Graves Commission, the cemetery contains 74 Commonwealth burials from the First World War and 4 from the Second World War. 

That number feels striking for a small place, but Cromarty had a more significant wartime role than many people realise. The CWGC notes that Cromarty was a net-base and that the Cromarty Military Hospital had 226 beds during the First World War. 

The same CWGC record also points to one of the major reasons the cemetery holds so many wartime burials: HMS Natal was wrecked and overturned by an internal explosion in the channel between Cromarty and Invergordon on 30 December 1915. That event left a lasting mark on the area and helps explain why the war graves section is so prominent here. 

What I like about these images together is the contrast in how remembrance is expressed. One side of the cemetery feels irregular, weathered and local, shaped over time by the town itself. The other is formal and deliberate, with the ordered headstones and cross giving the space a very different rhythm. Both belong to the same landscape, and both reflect different layers of Cromarty’s past. 

Vessel Operations Offshore

Out in the North Sea, the Norwind Storm support vessel takes up position beneath the setting sun — a steady presence against the rolling water and the turbine structures beyond.

These images show the vessel in its working context, sitting alongside the wind farm and substation, with the horizon fading into haze. The black and white treatment suits the industrial scale of the scene, stripping away colour to leave structure, light and movement.

Service operations vessels are a core part of offshore wind O&M. They provide accommodation and logistical support for technicians working on turbines and substations, often remaining on site for extended periods during maintenance campaigns.

This series adds to my Wind Industry collection, alongside wider work across Industrial and Places photography.

Remembrance Poppy Display – St Annes Parish Church

Today we remember - those who paid the ultimate price 🎖️,

and the many, many more who’ve quietly checked themselves out since.

You are not forgotten.

Those still fighting their battles.

You are not on your own.

Please talk.

Each year, the Remembrance period brings a powerful stillness to communities across the UK — a pause to reflect on the lives lost in conflict. This striking poppy display at St Annes Parish Church does exactly that.

Thousands of handmade poppies cascade from the church tower to the ground, symbolising the ongoing flow of remembrance from generation to generation. Seen from above, the red trail cuts through the old brickwork and gravestones — a vivid reminder of sacrifice and resilience.

The installation was created by local volunteers, each poppy representing care, memory, and community effort.

Offshore workers portraits.

Offshore Workers Portraits

These portraits were taken on a North Sea asset during an offshore wind operation. Shot in the working environment, they focus on the people behind the project rather than the infrastructure around them.

Offshore portraiture is a different discipline to studio or event work. The subjects are working professionals in a demanding environment, and the images need to reflect that — direct, unposed where possible, and honest about the conditions. There's little room for elaborate setups on a vessel or platform deck, which tends to produce portraits that feel more genuine for it.

The offshore wind industry employs thousands of people in specialist roles — technicians, rope access workers, supervisors, marine crew, and support staff — many of whom spend weeks at a time on rotation. These images are a small record of that working life, shot as part of a wider documentation of North Sea operations.

For more work from offshore wind projects, visit the Wind Industry gallery.

Arbirlot Walks – Fields, Waterfalls and Woodland

A short walk through Arbirlot, just outside Arbroath, takes you from open fields into shaded woodland and down to the small waterfall under the old stone bridge. It’s a quiet spot, ideal for a wander with the dog or simply enjoying the scenery. The mix of farmland, riverside paths and that hidden cascade makes it a favourite place for locals to explore.

The waterfall itself, tucked beneath the bridge, is the highlight. Whether standing above it or cooling off below, it’s a reminder of how much variety you can find within a short distance of town.

Exploring places like Arbirlot shows just how much variety is on offer in this part of Scotland. From open coastlines to tucked-away woodland, I’m always drawn to the mix of landscapes nearby. You can see more of my work across Places and People.

Glamis Castle. Highland games.

Glamis Castle. Highland Games.

The Strathmore Highland Games are held annually in the grounds of Glamis Castle in Angus, and they're one of the more distinctive events in the Scottish calendar. The castle itself provides an extraordinary backdrop — a working historic estate with a history stretching back to the fourteenth century, most closely associated with the Lyon family and later the Bowes-Lyon family, including Queen Elizabeth The Queen Mother, who grew up there.

The games follow a traditional format — heavy athletics including the caber toss and hammer throw, pipe bands, dancing, and the kind of food and atmosphere that makes it worth the journey. These images, shot in black and white, focus on the people, the movement, and the setting rather than the spectacle.

Angus is well placed for this kind of event — Glamis sits just a few miles from Forfar, and the wider Strathmore valley has a long connection to Highland culture and rural Scots tradition. If you're in the area in summer, the games are worth adding to the itinerary.

Helvellyn, Lake District – Solo Hike Photography

The Lake District is full of routes that test both stamina and focus, and Helvellyn is one of the best known. This solo hike followed Striding Edge, up to the trig point, across Swirral Edge, and back via Red Tarn.

Taken on iPhone, these images record the sharp ridges, steady climb, and open views across the fells. More than a walk, the route doubles as a physical test and training exercise.

I was happy with 4.5hrs.

Hill walking remains a steady part of my work and training. These photographs add to a wider collection capturing the landscapes of the Lake District.

Black and White Gym Photography – Weightlifting Event in Arbroath

At Warehouse Gym in Arbroath, a weightlifting event provided a chance to capture strength and focus in a stripped-back style. Without colour, the story shifts to contrast, shape, and movement.

The black and white approach highlights athletes in training and competition. Sharp contrasts draw out detail in posture and expression, showing the raw intensity of the sport.

This shoot extends my portfolio of event photography in Scotland, using a simple approach that keeps attention on people and performance.

Dunnottar Castle Sunrise – Drone Photography in Stonehaven, Scotland

Few locations on Scotland’s east coast carry as much atmosphere as Dunnottar Castle. Perched high above the North Sea, the ruins dominate the headland and remain one of the country’s most iconic coastal landmarks.

Captured by drone at sunrise, the first light revealed texture in the stonework and depth across the cliffs. The dramatic shadows emphasise both the scale of the castle and the rugged coastline that surrounds it.

The surviving buildings are largely from the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages.

Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century.

This work adds to my wider series on Scotland’s coastal landmarks, using drone photography to document places where history and landscape meet.

Rattray Head Lighthouse at Sunrise – Coastal Photography in Aberdeenshire

Rattray Head Lighthouse sits on a low promontory on the Buchan coast of Aberdeenshire, standing in open water just offshore. Built in 1895 and reaching 120 feet in height, it has guided vessels navigating the treacherous sands around Rattray Head for over 130 years. The area around the head has a long history of shipwrecks, which drove the original decision to build the lighthouse.

These photographs were taken at sunrise, when the first light catches the tower and the surrounding sea is at its calmest. The conditions allowed for clear reflections and strong contrast between the white stonework and the water around the base.

Getting to the lighthouse on foot involves crossing tidal sands, so timing matters — and the reward is a perspective that most visitors to the Aberdeenshire coast never see. The lighthouse is now automated and managed by the Northern Lighthouse Board.

For more coastal and lighthouse photography from Scotland, visit the Places gallery.

St Mary’s Chapel, Rattray – Historic Church Photography in Aberdeenshire

Tucked away in the Buchan countryside near Rattray, St Mary's Chapel is thought to date back to around 1214, making it one of the older surviving ecclesiastical ruins in the north-east of Scotland. Its weathered stone walls are a reminder of a time when this part of Aberdeenshire was a more substantial centre of local life.

These photographs focus on the texture of the stonework and the way the structure sits in the landscape — collapsed in places, but still carrying the proportions and form of a medieval chapel. The site has an unrestored quality to it that sets it apart from more managed heritage locations.

This visit forms part of an ongoing project documenting historic churches and chapels across Scotland, many of which sit quietly in the landscape with little formal recognition. For more church photography, see the Places gallery and the dedicated church posts in the blog.

Montrose Old and St Andrew’s Church – Drone Photography in Angus

The spire of Montrose Old and St Andrew's Church is one of the defining features of the Angus town's skyline. The current building dates from the late 18th century, with the distinctive steeple added in 1834. From street level it is striking; from the air the relationship between the church and the surrounding town becomes much clearer.

These drone photographs were taken to show the church in its wider urban setting — the way the spire anchors the High Street, the surrounding rooflines and the grid of the town below. The aerial perspective reveals the church's scale relative to the streets around it in a way that ground-level photography cannot.

Montrose itself has a long history as a trading port and market town, and the church reflects the civic ambition of a prosperous Angus community. It remains a working parish church and a significant local landmark.

This shoot is part of a continuing series on historic churches and town landmarks across Scotland

This work adds to my series on churches, using drone photography to show how historic buildings shape and define modern townscapes.