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"There are always flowers (for those who want to see them) - Henri Matisse" is a series designed to bring light to the dark days of Coronavirus. < Back There are always flowers 3 Apr 2020 "There are always flowers (for those who want to see them) - Henri Matisse" is a series designed to bring light to the dark days of Coronavirus. The images, each taken at the Botanical Gardens in Auckland New Zealand with only natural light, are a microcosm of hope and the future, of growth and life. They will be published online regularly 'in the Time of Coronavirus' . < Previous Next >

The latest issue of travel + culture magazine SUITCASE features a photo essay of images Guy Needham took at the Carnaval de Blancos y Negros. < Back Carnaval in Suitcase Magazine 8 Dec 2021 The latest issue of travel + culture magazine SUITCASE features a photo essay of images Guy Needham took at the Carnaval de Blancos y Negros. Each January, the 5-day festival of colour, noise and foam is held in the southern Colombian city of Pasto, with showers of confetti raining down on performers atop the four-storey-high floats. You can pick up your copy of SUITCASE from next week. < Previous Next >

Europe's first showing of The Dani is now live at Barcelona's Fotonostrum Gallery, accompanied by background on the tribe itself. < Back On show in Barcelona 17 Sept 2023 Europe's first showing of The Dani is now live at Barcelona's Fotonostrum Gallery, accompanied by background on the tribe itself. The portraits, taken in the Papuan village of Anemoigi in 2022, are a testament to the tribe's quiet intensity and traditional values. On display until September 29, the collection includes the award-winning image of Lokop Mabel, an elder in the tribe. < Previous Next >

Adrian Hatwell of D-Photo magazine and The Photographers' Mail sat down to discuss Guy Needham's upcoming solo exhibition, Shades of Otara. < Back Interview with The Photographers' Mail 13 May 2015 Adrian Hatwell of D-Photo magazine and The Photographers' Mail sat down to discuss Guy Needham's upcoming solo exhibition, Shades of Otara. As part of the Auckland Festival of Photography, the exhibition opens on Wednesday 27 July. < Previous Next >

In Guy Needham's first New Zealand show in three years, The Dani is now showing at The Grey Place in Auckland. < Back The Dani come to Auckland 27 Sept 2023 In Guy Needham's first New Zealand show in three years, The Dani is now showing at The Grey Place in Auckland. A testament to the tribe, the exhibition will be a collection of intimate portraits displaying both a quiet intensity and a subtle momentum. The images – all taken using natural light in front of a backdrop held up by villagers – are printed on C-Type photographic prints and Giclee prints. The Grey Place is open 10am-3pm Tues-Sun at 37 Scanlan Street, Grey Lynn. < Previous Next >

Guy Needham's The Hadzabe of Tanzania has been selected for the Core programme of this year's Auckland Festival of Photography. < Back Auckland Festival of Photography 23 Feb 2019 Guy Needham's The Hadzabe of Tanzania has been selected for the Core programme of this year's Auckland Festival of Photography. The festival takes place within Auckland's major galleries, project spaces, non-gallery venues and public sites, featuring a mix of emerging and established artists. The Hadzabe of Tanzania will be on show at The Grey Place from 28 May - 8 June. < Previous Next >

Boston's Griffin Museum of Photography will be the first United States gallery to feature one of the Dani tribe from Indonesia's Papua region. < Back From Papua to Boston 15 Nov 2022 Boston's Griffin Museum of Photography will be the first United States gallery to feature one of the Dani tribe from Indonesia's Papua region. Although thousands of years old, the Dani were unknown to the rest of the world until 1938. Today they still live a simple life and, while not isolated from the march of modernity, their traditions and values have endured. The portrait of Lokop Mabel, pensive while smoking and wearing a traditional horim (penis gourd), will be part of the Winter Solstice exhibition on show in Massachusetts from 9 December 2022 - 8 January 2023. < Previous Next >

On Tuesday 3rd June at 6pm Guy Needham, will be talking at the opening of his latest exhibition, The Huli of Papua New Guinea. < Back Presentation on the Huli 20 May 2014 On Tuesday 3rd June at 6pm Guy Needham, will be talking at the opening of his latest exhibition, The Huli of Papua New Guinea. Part of the Auckland Festival of Photography, Guy will be sharing his experiences with the Huli tribe - the last traditional tribe in the Southern Highlands of Papua New Guinea. < Previous Next >

The feature image of the Shades of Otara series is on show this week at the 2018 London Photo Festival. < Back Resting at London Photo Festival 15 May 2018 The feature image of the Shades of Otara series is on show this week at the 2018 London Photo Festival. Part of an international group exhibition on Street Photography, it is on show at St George the Martyr Church until 19 May. The image balances a young man's physical exhaustion with a girl looking on, licking an ice-cream as if it was her reward for his hard work. < Previous Next >

Hadzabe Girl has been included in the just-released 2020 New Zealand Camera Book. < Back New Zealand Camera 2020 20 Aug 2020 Hadzabe Girl has been included in the just-released 2020 New Zealand Camera Book. Put together by the New Zealand Photographic Society, the book i s a hard cover, full colour, coffee-table collectible with images portraying all genres of photographs taken by New Zealand artists. You'll be able to purchase your own copy from here soon. < Previous Next >

We’d been in the village for less than half an hour before we were propositioned. Usually, I’m a little wary of strangers inviting me to their house but the tall man in the grey hoodie insisted. “It’s only three minutes away,” he said with a straight face and slight accent. “You should come.” So we slowly followed him down the road. < Back Magical Māpua The Press 29 Sept 2025 We’d been in the village for less than half an hour before we were propositioned. Usually, I’m a little wary of strangers inviting me to their house but the tall man in the grey hoodie insisted. “It’s only three minutes away,” he said with a straight face and slight accent. “You should come.” So we slowly followed him down the road. Not that there was anything to worry about. The inviting local was one of the Māpua’s many talented craftspeople, industrial designer Sebastian Roccatagliata. In the workshop below his house, he pointed to thin boards of rimu, matai, and rewarewa, ready to be crafted into lamps for his Studio Deco Design showroom. Sebastian, like many of Māpua’s residents, had moved here for the lifestyle and natural beauty. The name says it all: Māpua means ‘a place of abundance’ in Māori. Only 30 minutes from Nelson, the township is best known for the historic and revitalised Māpua Wharf – an eclectic mix of boutiques, restaurants, bars, galleries, and a bike hire shop. “You want a step thru? A hardtail?” Establishing that I was a novice, the staff at Kiwi Journeys carefully wheeled out my first e-bike. “Go round to the left, between the buildings, down the ramp, onto the sand, we’ll meet you there. We drive the ferry too.” The flat-bottomed Māpua Ferry is the cycle-friendly link to nearby Rabbit Island and the only ferry crossing on New Zealand’s cycle trail. It took a whole five minutes to get to the other side. “See you in a few hours” came the cheery wave and off we went, doing a majestic 20kph with the help of eco and sport modes, peddling the coast track before heading towards the beach. Beyond the protected bird nests lay total solitude, undisturbed sand as far as the eye could see. Further inland we doubled back though the pine forest, navigating pinecones and debris before taking on the Conifer Park Track. Along the way we came across other cyclists who were doing the Great Taste Trail, one of the Ngā Haerenga Great Rides of New Zealand. Once back in Māpua it was time to eat, and The Jellyfish’s sun deck was calling. Located in a prime position on the wharf this well-regarded restaurant was bustling despite the chilly spring day. I rued not choosing the BBQ brisket dripping in caramelised onion that she-who-doesn’t-like-to-share ordered. Oh well, there was always Hamish the heron to watch on the pier (spoiler alert: it took me a while to figure out Hamish is not a real bird). Not far from the restaurant are the old apple coolstores, now converted into an art lover’s paradise. Where once 100,000 cases of Granny Smiths and Galas sat ready to be exported, today it is pīwakawaka sculptures of recycled spoons (Forest Fusion), hand-painted scarfs (The Mapua Collective), and mini terracotta vases (Coolstore Gallery) that take pride of place. But it was a pop of fuchsia nearby that caught my eye. The brightly painted beacon that is Kandē was a magnet to my oh-so-sweet tooth . Seated behind the smallest counter in the world was college student Aidan Porch, purveying jars of Grow Some Balls and Stop the Whining Gums . “How would I describe this shop? Small!” he laughed, going on to explain that the candy store was a family affair - built by him and his dad, with mum doing the ordering – giving him the flexibility to work when he can. Like many seaside towns, opening hours in Māpua vary by season : the Golden Bear Brewing Company was still ‘hibernating’ in early September; the ferry timetable was operating on winter hours (weekends / school holidays); and many of the pop-up shops hadn’t popped-up yet. Thankfully this wasn’t the case everywhere. “Open every day but Christmas,” shouted Tim over the Wega coffee machine at Java Hut, a little further up Aranui Road. Complete with self-identifying grumpy old men sitting out front and an overflowing tippo-potamus, it was obvious that Java Hut is a local’s local. “I love it when we get visitors, but there’s more to Māpua than just the wharf.” He wasn’t wrong. Staying in a converted warehouse apartment at Pohutukawa Farm, with its expansive views of tidal Waimea Inlet framed by the distant snowy ranges, it was easy to forget how much the wider area had to offer. In a region renowned for its wines we headed to Moutere Hills Restaurant & Cellar Door in search of lunch. Mistake #1 : not making a booking during a potentially busy period (I’m looking at you, Fathers’ Day). Mistake #2 : not giving ourselves enough time to take in the surrounds. We laser focused in on deserts. Dark Chocolate Ganache Tart? Yes please. Orange Cake, Safron Gel and Aquafaba Meringue? We’ll have that too. A trio of Feijoa Cake Limoncello, Tiramisu, and Ginger Loaf Icecream? Go on then. It’s fair to say that we didn’t have dinner. We had one last stop though: Brook Waimārama Sanctuary, a shortish drive away. The South Island’s biggest predator-free sanctuary is home to 65 tuatara and 41 kiwi pukupuku (Little Spotted Kiwi), as well as the critically endangered kākāriki-karaka (orange-fronted parakeet). We were warmly welcomed to the visitor centre by Chris McCormack, CEO, enthusiastic conservationist, and our tour guide for the night. Red-light head torches on, puffers zipped up, we headed through the double doors into the forest valley. A few hundred metres in Chris froze. “Hear that?” he urgently whispered, “It’s a male.” A high-pitched whistle. A pause, and then another one. “No, he’s a different male.” Then a lower call, slower, a short of trill. “Wow, she’s responding! That’s two kiwi males and a female you’ve just heard”. This was going to be hard to beat. We followed the path through the sanctuary, Chris shining an infrared light to bring the hidden glowworms alive, stopping occasionally to open a wooden ‘weta hotel’ (it’s OK, they’re in cases). This time there was a sharp “Shhh”. Leaves rustled to our right. Then suddenly, out popped a kiwi pukupuku metres from us and shot up the side of the path, it’s powerful legs too quick for us to get a photo, its soft shaggy feathers shining in the full moonlight. We were stunned. To see this taonga in its natural habitat really did feel like an honour. “That has never happened on a tour,” Chris said, when we all got our breath back. The wide smiles continued all the way back to Māpua. The next morning, still excited about our kiwi encounter, we coffee’d in Māpua one last time. As we left the wharf we passed Sebastian’s lighting showroom, his whale-shaped lights still on, grateful that this stranger had taken the time to proposition us. Original publication: The Press < Previous Next >

A pencil case, keeper of memories and three-way pens, lives in that no-mans-land of utilitarian nostalga and scholastic glory. In Lisbon, a city known for its leatherwork, a pencil case is much more than a convenient carrier; it’s a culmination of artisanal training, pre-cut patterns and naked flame. < Back The making of a pencil case Substack 10 Oct 2025 A pencil case, keeper of memories and three-way pens, lives in that no-mans-land of utilitarian nostalga and scholastic glory. In Lisbon, a city known for its leatherwork, a pencil case is much more than a convenient carrier; it’s a culmination of artisanal training, pre-cut patterns and naked flame. Half-way up the cobblestoned Rua Arco de Graca, behind the fresh façade of Di Zocco sits Leonardo di Croce, bent over his vintage Pfaff sewing machine, heel-toe technique on full display as the needle pumps furiously. An Argentine native who began leathercrafting with his brother in Buenos Aires, di Croce loosely follows in the footsteps of his cobbler grandfather and leathersmith uncle. Now plying his trade in Portugal, his unfussy shop-cum-studio welcomes visitors with purposely placed samples lining wooden shelves. Out the back, an old fan unevenly oscillates, wafting the soft, homely aroma emanating from a mélange of offcuts. Choosing a piece of leather, di Croce tugs at it tenderly to check for blemishes. Taking a blade to the Portuguese cow hide he traces around a well-worn pattern, carefully pushing against the metal workbench. The outline for the pencil case is deceptively simple – two shapes – versus the more complex ‘Jimmy’ messenger or ‘Sam’ backpack (each bag is named after its first customer). He precisely threads the leather through a thinning skiver, pushing out a smooth bevelled edge on the other side. Transferring glue from large jar to small, he fastidously wipes his hands on his denim apron, before patting down the adhesive using a fine brush. There are no plastic caps or excessive cloth inserts here; Di Croce follows a maxim passed on by another old hand, ‘If it is leather, show the leather.’ Concentration on his face, tongue between his lips, he expertly guides the Gutermann polyester thread along the zip line. Cigarette lighter and micro scissors in hand, di Croce snips and sears off the final loose threads before turning it all inside out. A smooth, rich dark brown, hand-crafted pencil case is revealed, ready to sit on the shelf and be named after the next customer. < Previous Next >