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Director John Ford's 1939 film Stagecoach, starring John Wayne, has had an enduring influence in making Monument Valley famous. After that first experience, Ford returned nine times to shoot Westerns between 1939 and 1960 — even when the films were not set in Arizona or Utah.

We were at the entry gate at 8am waiting for them to open the park, ready to start our tour of the Monument Valley Navajo Tribal Park. John Ford Point was one of my primary locations on my to-do list for the day. It had been one of my bucket list locations to photograph. I had heard that the Navajos usually had a horse at the location to rent out for the tourists to have their photos taken with. Right on cue, the horse and a rider showed up and posed for his family to take photos of him on the horse. I took advantage and included him in the shot. Between waiting numerous times and with some creative masking of people in the shots, I managed to get a full set of images where the only person in the shot was the one on the horse.

Near what is known as Forest Gump Hill these formations were part of the scene in the movie. This area is on the northern edge of Monument Valley. We had gotten up early before sunrise hoping to get a shoot of the comet C/2023 A3 (Tsuchinshan-ATLAS). Clouds on the horizon prevented us from seeing the comet. However the early morning light on the formations and desert floor was fantastic.

The Palace of Westminster, in London, England in the United Kingdom is one of the most recognizable buildings in the world. It should be on any tourist’s list of iconic places to visit in London and for good reason. Situated on the River Thames, The Palace of Westminster is home to the British Houses of Parliament which include the House of Commons and the House of Lords.

Originally built in the 1500s as a royal palace, it was rebuilt in the 1800s after the Great Fire of London. Architect Charles Barry designed it in the Gothic Revival style architecture. Westminster Hall was the only original building that survived the fire (you can see its tower rising from behind this building on the right of Westminster Abbey’s two white towers). The Victoria Tower (left) is the largest of the three towers of the Palace of Westminster. It’s followed by the Elizabeth Tower that houses the Great Clock (Big Ben), and the Central Tower.

I shot this photo during a family trip to London in the summer of 2024. Next to the Waterloo Station, our lodging provided easy access to mass transit and was only a 5-minute walk to the spot where I took this photo, next to the Westminster Bridge. After a full day visiting well-known tourist sites in London and the family was winding down, I decided to make a go for my night image of the Palace of Westminster and Big Ben. I headed to The National Covid Memorial Wall just before sunset, captured a sunset image and waited for dark. As twilight set in, the lights of the building came on I started my series again albeit with long exposures.

Over the past 10 years of photographing panoramic stitches, I’ve found that above all I want to make beautiful photos, high resolution or not. I’ve made the mistake too many times of trying to go too big to end up without a photo to show for it. Light conditions can change rapidly, the wind can pick up, making long telephoto exposures impossible, and the whole planned photo falls apart. For that reason, I opted to shoot this series at 100 mm vs a longer focal length. A few nights before, I had attempted the nighttime photo of Big Ben and the Palace of Westminster with a longer telephoto lens. I figured I could forego a bit of sleep and take all the time I needed to go big, only to have the series cut short prior to finishing the exposures. Unbeknownst to me, lights of the building turn off at midnight! In my early morning image, the golden light that cast so beautifully on the building was gone as quickly as it came when clouds rolled through. For this night to day image I wanted to merge the very different moods and dramatic light into one photo.

To my knowledge, my series of images arel the highest resolution photos of The Palace of Westminster and Big Ben in London ever photographed. At nearly 500 megapixels, this image can be printed nearly 10 feet long with no loss of detail. The high resolution allows for making extremely large fine art prints or murals and produces a hyper-realistic look unlike that of traditional fine art photography. It provides the viewer unrestricted access to the most intricate details of the Palace of Westminster façade. It’s gothic architecture with its decorative patterns, lancet windows, and many statues can all be seen in striking detail. I’m always enthusiastic to photograph beautiful architecture. Capturing the Palace of Westminster and Big Ben at nighttime made for a great way to finish the day in London.

The Palace of Westminster, in London, England in the United Kingdom is one of the most recognizable buildings in the world. It should be on any tourist’s list of iconic places to visit in London and for good reason. Situated on the River Thames, The Palace of Westminster is home to the British Houses of Parliament which include the House of Commons and the House of Lords.

Originally built in the 1500s as a royal palace, it was rebuilt in the 1800s after the Great Fire of London. Architect Charles Barry designed it in the Gothic Revival style architecture. Westminster Hall was the only original building that survived the fire (you can see its tower rising from behind this building on the right of Westminster Abbey’s two white towers). The Victoria Tower (left) is the largest of the three towers of the Palace of Westminster. It’s followed by the Elizabeth Tower that houses the Great Clock (Big Ben), and the Central Tower.

I shot this photo during a family trip to London in the summer of 2024. Next to the Waterloo Station, our lodging provided easy access to mass transit and was only a 5-minute walk to the spot where I took this photo, next to the Westminster Bridge. After a full day visiting well-known tourist sites in London and the family was winding down, I decided to make a go for my night image of the Palace of Westminster and Big Ben. I headed to The National Covid Memorial Wall just before sunset, captured a sunset image and waited for dark. As twilight set in, the lights of the building came on I started my series again albeit with long exposures.

Over the past 10 years of photographing panoramic stitches, I’ve found that above all I want to make beautiful photos, high resolution or not. I’ve made the mistake too many times of trying to go too big to end up without a photo to show for it. Light conditions can change rapidly, the wind can pick up, making long telephoto exposures impossible, and the whole planned photo falls apart. For that reason, I opted to shoot this series at 100 mm vs a longer focal length. A few nights before, I had attempted the nighttime photo of Big Ben and the Palace of Westminster with a longer telephoto lens. I figured I could forego a bit of sleep and take all the time I needed to go big, only to have the series cut short prior to finishing the exposures. Unbeknownst to me, lights of the building turn off at midnight!

To my knowledge, this VAST Photo is still the highest resolution photo of The Palace of Westminster and Big Ben in London ever photographed. At nearly 500 megapixels, it can be printed nearly 10 feet long with no loss of detail. The high resolution allows for making extremely large fine art prints or murals and produces a hyper-realistic look unlike that of traditional fine art photography. It provides the viewer unrestricted access to the most intricate details of the Palace of Westminster façade. It’s gothic architecture with its decorative patterns, lancet windows, and many statues can all be seen in striking detail. I’m always enthusiastic to photograph beautiful architecture. Capturing the Palace of Westminster and Big Ben at nighttime made for a great way to finish the day in London.

Bright Angel Point at the North Rim Visitors Center is often the first, and sadly the only, location visitors to the North Rim experience. It is home to the Grand Canyon Lodge, the only accommodation within 45 miles of the rim. The Grand Canyon's rustic and less populated North Rim is home to abundant wildlife, hiking trails, and unparalleled views of one of the Seven Natural Wonders of the World. Grand Canyon Lodge sits at 8,000 feet in elevation and guests are greeted by breathtaking views of the canyon from its large viewing patio. Home to the trail head for Bright Angel Trail it is the departure point for many adventurous hikers endeavoring to do the the Rim to Rim Hike.

The morning I shot this, my wife and I were up early around 5am to drive the 60 minute drive from our campground at Jacobs Lake to the North Rim visitor center. We arrived right before sunrise only to discover that the trail to Bright Angel Point was closed for repairs. Disappointed, I scouted around for another location to shoot from. I discovered a overlook just below the Grand Canyon Lodge on a narrow outcrop that extended some 50 yards out from the canyon wall. I walked out to the overlook and this was the scene from it. I waited a while after sunrise for the light to extend down into Bright Angel Canyon some. While most of the trees in the canyon are evergreens there are a few scrub oaks and shrubs that are ablaze in fall color, especially along the right side of the panorama. It turned out to be one of the clearest days during this years visit. If you zoom into the image on the south rim you can clearly see the South Rim Visitor center along with the trail that descends down to the bottom.

The golden hues of the setting sun illuminate the serene coastal landscape, where grassy sand dunes frame a tranquil view of the sea. The gentle curves of the dunes, adorned with windswept tufts of grass, guide the viewer's gaze towards the vast beach and shimmering waters. The sky is painted with warm orange and soft pastel tones, creating a harmonious contrast with the deepening shadows on the sand. This idyllic scene captures the peaceful essence of a coastal sunset, inviting reflection and a sense of calm.

As the horizon stretches endlessly, the interplay of light and shadow across the dunes adds depth to the composition. The beach is undisturbed, evoking the raw beauty of nature in its purest form. The subtle movement of the grasses in the evening breeze and the soft ripples on the water suggest a gentle rhythm, complementing the overall serenity of the moment.

This image is a timeless representation of coastal tranquillity, making it ideal for evoking feelings of relaxation and escape. The harmonious blend of colours and textures transforms a simple beach scene into an artistic portrayal of nature’s elegance, perfect for any setting requiring a touch of natural beauty and calm.

When I am in iconic locations like the North Rim of the Grand Canyon I always try to find locations to photograph that the general public can not get access to. At the North Rim there are only about 5 or 6 overlooks that have paved roads and are readily accessible to most visitors. However, to the west of the Bright Angel Point dozens of 4x4 trails cis-cross the Kaibab National forest, many providing lessor known but never the less, beautiful views of the canyon.

The receptionist at the Jacobs Lake RV park where we were camped clued me in on this location. I had gone to the registration desk looking for a map of the 4×4 back country trails that would lead us to various overlooks along the North Rim. I mentioned that I was a photographer and that I was looking for locations I had not photographed before. She said she thought that Crazy Jug Point was one of the most scenic of all the locations along the entire north rim. That was all the inspiration I needed to decide that the 32 some miles, one way, of back country 4×4 travel would be worth it.

The next day we took our Jeep to the point and it did not disappoint. As we walked the short 50 yard path from the parking area out to the main view point, the view was breathtaking. Pinion Pines framed both sides of the view and two of the famous Century Plants seemed to point at the canyon view.

Crazy Jug Point is west of the developed North Rim area in the Kaibab National Forest. A high clearance 4x4 SUV or truck, is required. Reaching this free dispersed camping area is certainly not for the faint of heart! The narrow, rugged roads should only be attempted by experienced drivers.

I shot this at 200mm focal length. The short distances to the nearby objects at the overlook required me to shoot almost all individual shots, other that some in the middle of the top row of the images, using focus bracketing There are 1714 individual, mostly focus bracketed images yielding 120 images, 5 rows x 24 columns, used to stitch together this shot.

One of Zion's most famous landmarks, the Court of the Patriarchs is a 'must see' for first time visitors. The peaks tower above the west side of Zion Canyon.

We had been in the Zion area for three days and overcast skies and rain had made any serious photography out of the question. This was going to be our last day at Zion and I had been hoping for some clearer skies and sunshine anticipating doing some shooting in the morning. We woke up about 6:00am to mostly cloudy skies but with a hopeful weather forecast we got up and walked the 1/2 mile hike from the RV park to the bus station in park visitor center.

I had decided in the days previous that my number one subject to capture a morning shot of was The Three Patriarchs. When we got off of the bus at Stop 4 called the Court of the Patriarchs we had nearly clear skies to the west with some intermittent clouds in the east. We took the short 50 yard hike up the hill on the east side of the park road to the overlook. I actually had to wait about 30 - 45 minutes for the sunlight to creep down into the valley far enough that most of the peaks were lit.

The three main spires that make up the Court of the Patriarchs were named after biblical figures by early Mormon settlers in the region. The four peaks in the photo from left to right are: The Sentinel at 7157 ft. (2181 m), Abraham Peak at 6840 ft. (2101 m), Isaac Peak at 6825 ft. (2081 m) and Jacob Peak at 6831 ft. (2083 m).

In order to achieve the 6.94 gigapixel resolution of this photo, I shot it at 300mm focal length. The close proximity of the trees in the foreground at the overlook required me to shoot all but the top three rows of the images using focus bracketing There are 3261 individual, mostly focus bracketed images yielding 301 images, 7 rows x 43 columns, used to stitch together this shot

One of the most beautiful valleys that can be found on the border between Italy and France is the Valle Stretta (Vallee Etroite in French), a small wild valley that is almost untouched, except for a couple of mountain huts and a few houses in a small village.

The beautiful and high mountains (the highest peaks are almost 3000 meters) are made of dolomitic rock like the famous Dolomites in the Alps of eastern Italy, and this makes this area of the Alps even more special, which until before the Second World War was part of Italian territory, then ceded to France with the Treaties of Paris.

In this valley you can find natural beauties that are still uncontaminated, waterfalls that wind through the rocks and an endless expanse of larches.
This immense larch forest was the subject of the photo you see, during an autumn season two years ago in which the larches had taken on a truly incredible golden color.

To pay homage to this natural beauty I wanted to create a photo for VAST: however, since the sky was flat and dull, since the day was clear, but there were no clouds to create a particular atmosphere, I decided to make this photo more spectacular through the use of latest generation technologies regarding the replacement of the sky, the addition of volumetric and depth effects and the correction of the movement of the larches' branches in the sum of the focus stacking.

I used all these changes through the latest Artificial Intelligence features currently available on the post-production software that I usually use.

I wanted to "imagine" how this valley could have appeared with a grandiose light and an epic sky during the sunset in the most beautiful season of the year, autumn.

I hope you like the final result

The Palace of Westminster, in London, England in the United Kingdom is one of the most recognizable buildings in the world. It should be on any tourist’s list of iconic places to visit in London and for good reason. Situated on the River Thames, The Palace of Westminster is home to the British Houses of Parliament which include the House of Commons and the House of Lords.

Originally built in the 1500s as a royal palace, it was rebuilt in the 1800s after the Great Fire of London. Architect Charles Barry designed it in the Gothic Revival style architecture. Westminster Hall was the only original building that survived the fire (you can see its tower rising from behind this building on the right of Westminster Abbey’s two white towers). The Victoria Tower (left) is the largest of the three towers of the Palace of Westminster. It’s followed by the Elizabeth Tower that houses the Great Clock (Big Ben), and the Central Tower.

I shot this photo during a family trip to London in the summer of 2024. Next to the Waterloo Station, our lodging provided easy access to mass transit and was only a 5-minute walk to the spot where I took this photo, next to the Westminster Bridge. Seeing the promising conditions from my window, I headed to The National Covid Memorial Wall only to find that fast-moving clouds rolled in, leaving the entire sky and the Palace of Westminster in dreary shadow. I still set up my gear and waited with fingers crossed that the clouds would pass. After waiting only 15 minutes, I was gifted a short window to photograph this scene. The overcast sky cleared, and the building was cast in the golden light of the early morning.

Over the past 10 years of photographing panoramic stitches, I’ve found that above all I want to make beautiful photos, high resolution or not. I’ve made the mistake too many times of trying to go too big, only to have the light conditions change and the whole planned photo fall apart. For that reason, I opted to shoot this series at 100 mm vs a longer focal length and I’m glad I did. The beautiful golden light and vibrant blue sky with cumulus clouds that made this photo were gone within a minute of finishing the series. The sky became completely overcast again for the remainder of the day and I would have missed the shot entirely if trying to go larger.

This VAST Photo, while not as large as some others of mine can still be printed nearly 10 feet long with no loss of detail. At nearly 500 megapixels, this ultra high-resolution photo allows for making extremely large fine art prints and produces a hyper-realistic look unlike that of traditional fine art photography. It provides the viewer unrestricted access to the most intricate details of the Palace of Westminster façade and Big Ben. It’s gothic architecture with its decorative patterns, lancet windows, and many statues can all be seen in striking detail. I’m always enthusiastic to photograph beautiful architecture. Capturing the Palace of Westminster and Big Ben illuminated by the golden light of morning definitely got that day off to a great start.

Presenting "Stars of the Sea," a truly unique image that stands alone in its uniqueness.

This scene was captured over a formidable New Zealand West Coast reef, this photograph is more than just an image; it's an unforgettable and adrenaline-filled memory for me.

The sight was beyond belief. As if the stars and the West Coast night sky weren't enough, the unexpected glow of the Aurora Australis graced my frame. This phenomenon, combined with the Zodiacal light beneath the Milky Way, made this shot an unbelievable catch. For those who appreciate the rareness, spotting the Aurora Australis to the South, especially in this setting, is an extraordinary event.

The alignment of the moon, Milky Way's position, tide, and weather meant this shot is feasible only a few nights of the year, if at all. To witness the aurora on top of that was truly spectacular.

Being on that reef was no walk in the park. The labyrinth of natural stepping stones, which rise from the sea floor, quickly vanish with the tide. There was a risk, both to me and my gear, making the shot not just about the visual appeal but also the adventure and precision it took to achieve it. I had to be as quick as possible!

An added touch to this landscape is the presence of starfish, fascinating creatures in their own right. Carnivores by nature, have the uncanny ability to regenerate parts of themselves. Their inclusion in the frame is both a marvel of nature and a nod to the unseen wonders of the deep, only revealed at low tide.

"Stars of the Sea" is more than just a picture for me; it culminates patience, timing, and a little touch of the unexpected.

"Tasman" captures a broad perspective of one of the most magical sunrises I've ever witnessed. This was my first visit at dawn, and it certainly lived up to expectations!

The scene was an incredible display of nature: perfectly still with not even a whisper of wind and surrounded by total silence that set the stage for the day. The light show was amazing. I've explored Mount Cook National Park many times, but this was a sunrise like no other.

Running on just a few hours of sleep after a night dedicated to astrophotography, I found the trade-off absolutely worth it. The way the light danced across the sky, painting the clouds with an array of stunning colours, was utterly captivating. It's moments like this that fuel my passion for chasing these scenes.

In 'Tasman,' my vision is realized. Understanding the magnitude of the scene, I aimed to capture every fragment, opting for a wide-scale approach—a 15-shot panorama that ensures no detail is missed. It's an all-encompassing sweep of the landscape, as grand as the moment itself.

The Waning Crescent Moon, at 18.5%, is visible in the centre of the frame. To the left, Aoraki (Mount Cook), New Zealand's highest mountain, stands majestically illuminated.

I am excited to share "The Way," a breathtaking panorama of the Milky Way arcing over a rugged coastline in New Zealand.

This scene captures the vibrancy of nature’s palette, with incredible airglow painting the horizon in hues of orange and magenta. To the far left, the Small and Large Magellanic Clouds make an appearance, while the core of the Milky Way blazes brightly in the centre, as if illuminating the path to the west.

This image was a labour of love, taken on a serene night when the airglow was truly exceptional. In this ultra-wide panorama, you can see the airglow subtly shift from south to north, revealing the dynamic beauty of the night sky in vivid detail.

Photography often brings moments of introspection. While exploring this remote location, I found clarity in the quiet hours spent scouting compositions, waiting for the perfect light. It’s a time for the mind to wander—to reflect on the past, learn from it, and look to the future with hope. I shot the foreground during blue hour for maximum detail and clarity.

This image represents not just a photograph but a personal connection to the stillness and beauty of nature, reminding us of the wonders above and within. It was captured in a huge resolution to preserve every detail of the night sky.

Cape Cod has a reputation as a place where the tourist go and the wealthy have their Summer homes, both are true. The "Cape" also has plenty of small little harbors like this that are really "cool" to photograph. I made this image on a nice calm morning in early October when the grasses along the shore had begun to change colors which with the morning sun accentuated their color just a bit.
I hope you can enjoy this scene as much I did when I made it.

Portsmouth is long know for ship building and is the 3td oldest town in America, and on this quiet morning the clouds are reflecting into the flat calm of the Piscataqua river. Lobster boats which are synonymous with small harbors in New England find a home here and add a nice bit of character to this image.