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Guy Needham's latest project, a departure from his tribal work, has just been released for sale as Colour Nature (II). < Back Colour Nature II released 15 Oct 2016 Guy Needham's latest project, a departure from his tribal work, has just been released for sale as Colour Nature (II). Available as 500mm x 500mm square prints on Hahnemühle Rag Matt 308gsm archival art paper, the full set can be seen at colour-nature.com and are available from The Frame Workshop in Auckland. < Previous Next >

Studio One in Ponsonby has confirmed that Shades of Otara - a documentary series three years in the making - will be exhibited from 25 May next year. < Back Shades of Otara to show at Studio One 14 Nov 2014 Studio One in Ponsonby has confirmed that Shades of Otara - a documentary series three years in the making - will be exhibited from 25 May next year. The monochromatic work is designed to draw on themes of identity and place, balancing quiet moments of contemplation next to entrepreneurialism. < Previous Next >

An image of a Mika Logo, a boy from the Dani tribe in the Papua region of Indonesia, has been selected for Praxis Gallery's international Portraits exhibition. < Back The Dani go to the USA 14 Jun 2022 An image of a Mika Logo, a boy from the Dani tribe in the Papua region of Indonesia, has been selected for Praxis Gallery's international Portraits exhibition. The photo was taken in Anemoigi village, as part of Guy Needham's ongoing project to document indigenous peoples. The exhibition "celebrates the aesthetic and conceptual considerations involved in the creation of the portrait" and will run from 16-30 July in Minneapolis. < Previous Next >

Last night saw the opening of The Huli of Papua New Guineaas part of the Auckland Festival of Photography. < Back Opening Night for The Huli 4 Jun 2014 Last night saw the opening of The Huli of Papua New Guineaas part of the Auckland Festival of Photography. Over 80 people attended the opening night to hear about the Huli tribe - their way of life, traditions, culture and history. The exhibition continues on until Saturday 14 June at Allpress Gallery, 8 Drake St, Freemans Bay, Auckland. < Previous Next >

This week Guy Needham went along with thousands of others to watch the first rodeo to be held in the world each year, the Warkworth Rodeo... < Back First Rodeo in the World 2 Jan 2025 This week Guy Needham went along with thousands of others to watch the first rodeo to be held in the world each year, the Warkworth Rodeo... As one of New Zealand's premiere rodeos, it is full of the usual events such as barrel racing, bull riding, saddle bronc riding, steer wrestling and breakaway roping. Interest in the event has only grown over the years, no doubt helped by the global TV phenomenon that is Yellowstone. You can see a sample of the images here < Previous Next >

On RNZ National Guy Needham joins Colin Peacock to discuss his work and the intimate portraits he created of the Samburu tribe in northern Kenya. < Back The Samburu on RNZ National 3 Oct 2020 On RNZ National Guy Needham joins Colin Peacock to discuss his work and the intimate portraits he created of the Samburu tribe in northern Kenya. The interview covers off everything from photographing indigenous peoples to some of the unique rituals he has observed to the planning that goes into getting to extremely hard-to-reach peoples. The Samburu of Kenya exhibition is part of Auckland Artwork 2020 and the interview can be heard here . < Previous Next >

The Jungle Journal has just published Guy Needham's photo essay on the wayang kulit, Indonesia’s centuries-old shadow puppet tradition. < Back Java's sacred Shadow Puppets 4 Dec 2023 The Jungle Journal has just published Guy Needham's photo essay on the wayang kulit, Indonesia’s centuries-old shadow puppet tradition. Performed complete with a gamelan orchestra, Wayang kulit dates back to 800AD when puppets were used to worship ancestors. The shadow puppets are produced on demand for dalang (puppet masters) and for collectors who spend tens of thousands of rupiah to expand their collection. You can read more here http://itsthejunglejournal.com/stories/wayan-kulit-makers-of-java/ < Previous Next >

Melbourne's Ladder Art Space will be showing the Vatwa exhibition as part of their 2026 programme, bringing to Australia one of Angola's most intriguing tribes. < Back The Vatwa go to Melbourne 6 Oct 2025 Melbourne's Ladder Art Space will be showing the Vatwa exhibition as part of their 2026 programme, bringing to Australia one of Angola's most intriguing tribes. Regarded as the first indigenous inhabitants of the Angola's Onconcua region, no-one knows exactly where they originally came from, not even their chief. In May next year a curated selection of captivating portraits will be on show in Melbourne accompanied by texts sharing the lifestyle, history and social structures of this semi-nomadic tribe. The Vatwa are the ninth in Guy Needham's Tribal series, which to date has included indigenous peoples in Africa, Asia, the Pacific and South America. < Previous Next >

Guy Needham has been selected as one of the international jury for the upcoming Chania International Photo Festival. < Back Judging for Crete 15 Apr 2019 Guy Needham has been selected as one of the international jury for the upcoming Chania International Photo Festival. As part of the judging committee he will help select the award winners and highly commended images in the festival that runs in Crete from August 16th until August 24th this year. < Previous Next >

The third of Guy Needham's tribal series, The Mentawai of Indonesia, is now on show in Sydney as part of Australia's Head On Photo Festival. < Back The Mentawai opens in Sydney 8 May 2018 The third of Guy Needham's tribal series, The Mentawai of Indonesia, is now on show in Sydney as part of Australia's Head On Photo Festival. The exhibition in the historic ArtHouse Hotel's Grafitti Bar, features ten of the original portraits taken in 2017 and will be on display though to June 8th. < 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 >