I love prints. I think they're one of the most honest ways to share a photograph. Printed on the right paper, in the right light, a fine art print can stop you in a hallway.

But almost everyone has bought a print at some point in their life. Most people know what they are, what they feel like, what to expect.

Acrylic blocks are something else entirely.

When I first held one of my own images in acrylic, I understood immediately why this was the format I wanted to pursue. It's 40mm of optical-grade acrylic, solid, weighty, clear, face-mounted to an archival fine art photograph. The result is something you don't just look at. You look into it.

The light passes through the acrylic and into the image in a way flat printing can't replicate. It makes the colour glow. My ocean photographs, the blues, the greens, the early morning pinks and golds, they respond to the acrylic like they were always meant to be seen this way. The natural colour in the image amplifies. The whole thing feels alive.

I have them everywhere. On my desk, in the kitchen, by my bed. I carry a couple in my car and pull them out to show people, because when you hand someone an acrylic block for the first time, something happens. Their face changes. It's not the reaction you get with a print. It's more like: wait. What is this?

That's the moment I'm after. That surprise. That feeling of holding something you weren't quite expecting.

I chose to focus on acrylic blocks because I want people to experience my work in a way they haven't experienced before. The ocean I photograph is extraordinary. The dolphins, the whales, the light on the water at five in the morning, the moments that last about three seconds before they're gone forever. That deserves a format that matches it. Something you can hold. Something that feels like more than a photo.

Because it is more than a photo.

Shop the acrylic block collection