Bio

I am an Australian/British amateur photographer presently residing in The Netherlands. My interest in photography regretfully waned over many years and it wasn’t until purchasing a DSLR camera in Dubai about ten years ago that it returned. Nowadays it occupies much of my time and brings immense enjoyment.

Why Murray Maffra? John Williams is my usual name, shared by many thousands, some familiar and most not. So, a different name had to chosen – and this is how most people in my photography world know me.

My subject matter varies over a wide range of genres, perhaps too many, but here is a little about some of areas that keep me busy.

The built enviroment or the human landscape, however it is described, I find particularly interesting photographically. Whether it is in the heart of a city, out in suburbia or deep into the countryside there is always to be found some structure or conglomeration to catch my eye. Transport infrastructure provides many possibilities for my work and you will find lots of rails, bridges and canals featuring in my images.

I have spent much of my life working in engineering in heavy industry, mainly in the energy sector, and although photography has been an element of my job it was purely for technical reference purposes and not for any artistic reason. On recent projects though, I am taking every opportunity of to capture images of operating facilities or the construction process. The demise of industry is also a subject that I like to pursue - perhaps my favourite genre. My motto of ‘there is almost always a hole in the fence’ has proved true countless times enabling access to wonderful abandoned and derelict factories and mills.

An enquiry about photographing some wartime bunkers in The Hague lead to friendships among the bunker exploring community. The remnants of war abound across Western Europe and on many a weekend I have slid through almost impossible holes, camera in hand, into the damp and dark undergound.

Some time back on a train to Antwerp I attempted to photograph the rears of the track-side houses with less than brilliant results. Dirty windows, reflected lighting and the movement of the train didn’t contribute to a sucessful outcome, so I put the camera down. Later, again as a passenger, but this time in a car, I took a few shots through the window with the camera of my phone and found much more pleasing images. This developed into somewhat of an obsession and from then on I would take my window seat in any form of transport with phone at the ready.