"I was born in Oxford, England and my first real camera was a Nikon F2S with photomic head, longer ago than I care to remember.
I moved to Spain in 1985 with my wife, Sharon, for a better climate and simpler life, but photography had to take a back seat as we carved out a living.
We finally moved to Canada in 2003, settling in Salmon Arm, British Columbia. I now had the time to dedicate to my passion of photography that had been put on hold for so long. I chose to concentrate on birds in flight as they have always intrigued me, and I wanted to capture the beauty of nature that is not normally visible to the naked eye. Even birds that we consider to be common and uninteresting are catapulted into stardom when their wings are frozen in mid flight.
I often find myself sitting in a blind at temperatures of minus 15 degrees Celsius trying to capture that all important shot, or in the case of the hummingbirds, plus 35 degrees Celsius with sweat running down the backs of my legs. The most important thing for you to realize is that I would not have it any other way. I study flight patterns and feeding habits for hours to determine where they will come into the frame, because every bird has a completely different approach when they are feeding.
I think it would be fair to say that whatever the shot, it is calculated and recalculated and even taken in my mind before I begin.I hope that you enjoy my work and it has given you a different perspective into bird and insect in flight photography."

Roy's latest works, while photographic in conception have evolved to incorporate new technologies, like putting the images on metal, some of which have not been done before so he am able to stretch the medium and find a niche that no one else has explored. This use of iconic and sometimes dramatic imagery with a new technology called sublimation, that employs a polyester layer on metal as the substrate, creates an image that will leave you awestruck and sometimes even in tears. By way of a simple explanation the image is first created as a transfer and then the transfer is fused to the polyester background using pressure under 400 degree heat.The transfer under the extreme heat goes from a solid directly to a gas and then back to a solid that is bonded within the polyester. By bypassing the liquid state, there is no possibility of the soaking tendency that liquid has so the image stays sharp and because of the white background it creates the sensation of life that is not always easy to achieve on paper. The translucence of the ink lets light pass through it and then back out to help the iridescence of the colours live in the available light.

Roy has just had a 10 page feature in the Fall edition of Arabella Magazine, a Canadian Art, Architecture and Design Magazine produced in Toronto that sees readers all over North America.

This exposure is sure to bring Roy's work to hundreds of thousands who might not have seen it. This and the several recent group shows should propel Roy into a much broader spotlight.