Photo by Maciej Dakowicz


I live in a small coastal community located a little south of Sydney, Australia.


I'm not sure that I have a style. I just look for quirkiness, intimacy, humour, ambiguity, and mystery. 


I started making photographs again only a few years ago but my involvement in photography goes back decades. 

Before settling permanently in Australia in 1980 I studied documentary photography in the UK and worked in darkrooms and studios in London and Sydney.

Some of my documentary work in Indigenous communities is held in the collections of the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) , the National Gallery of Australia and the National Museum of Australia, and appeared in exhibitions, monographs and books. 

From 1986-1988 I was the photographic coordinator for the After 200 years project, a major documentary photography project undertaken by AIATSIS, that featured the work of 21 Australian photographers. As well as choosing the participating photographers, I supported their work in the communities and mentored young Indigenous photographers who worked on the project. Together with the project manager I curated and sequenced the resulting book and exhibitions.

I also made photographs in two communities for that project; one chapter reflected a collaboration with the community at the former Aboriginal Mission settlement at Purfleet, while the second explored the experience of incarcerated Indigenous men at Cessnock goal in New South Wales.

In the mid-1980s I co-founded Photo Access, Australia's first community photographic centre. I taught photography at Photo Access and in other settings for many years, and coordinated community and documentary photographic projects, including those that worked with young people, people of colour and people with disabilities. Many of those projects resulted in exhibitions.

During my career I always knew that street photography was a thing, and I was a big fan of photographers like Garry Winogrand, Joel Meyerowitz and Elliott Erwitt. I carried a camera with me everywhere, but my personal preference was (and remains) always for story-based documentary work.

After nearly thirty years away, in 2012 I got back into making photographs. I hope to develop documentary projects again, but until that becomes possible, street photography is a challenging and satisfying alternative.


Almost all the images on this site were made with a Fuji X-T2 camera and a 23mm f2 lens. A few were made with a Fuji x100t or x100f.


I like the work of street photographers who have recognisable and unique styles e.g. Alex Webb, Maciej Dakowicz, Melissa Breyer, Peter Kool, Tavepong Pratoomwong and Graciela Magnoni

The work of earlier street photographers like Joel Meyerowitz, Henri Cartier-Bresson, Garry Winogrand, Elliott Erwitt and Saul Leiter have also been influential.

I also like the work of Jason EskenaziJosef Koudelka, Nikos Economopoulos and Ernesto Bazan. Their style isn’t strictly street; it’s story-telling at a deeper level, and sometimes more documentary in style and presentation. I'd love to make work like that!

My partner Julia Coddington is also a street photographer. You should get to know her awesome work :). 



instagram: @gerryorkin