Paul Fowles Photography

03/06/2026

Liverpool's docklands are a fascinating blend of old and new.

This long-exposure black and white photograph from No 12 Building at Princes Dock captures an area that continues to evolve, with modern developments breathing new life into the historic waterfront while maintaining a connection to its maritime past.

One of the things I enjoy most about photographing places like this is seeing how regeneration can add a new chapter to an already rich story.

📍 Princes Dock, Liverpool

29/05/2026

I recently spent some time photographing Aberdyfi Butchers, a business that has been part of village life since 1861.
As Martin Fowles is my cousin, I was fortunate enough to spend time behind the scenes, capturing not only the work that goes into running a traditional butcher's shop but also the people who keep it going day after day.
Martin's family connection to the business stretches back to the early 1900s, when our great-great-grandfather first came to Aberdyfi as a young boy to work for the previous owner. More than a century later, that family association continues.
As a photographer, I enjoy documenting the places and people that help define a community, and this story felt especially close to home.

27/05/2026

Portmeirion photographed on one of the coldest days of the year, with snow lying across the mountains beyond the Dwyryd Estuary and soft winter light falling across the village.

As much as I enjoy photographing scenes like this, I’ll happily admit that I much prefer the long evenings and warmer days of summer to standing out in freezing conditions waiting for the light.

21/05/2026

The Lighthaus Building at Prince’s Dock, Liverpool, has a natural presence in black and white.

The clean architectural lines, reflections across the dock, and the movement in the sky all come together in a way that monochrome photography seems to suit perfectly.

Long exposure work at Liverpool’s docklands continues to offer endless opportunities to simplify a scene and focus on form, contrast, and atmosphere. On this occasion, the calm water opposite the Lighthaus Building helped create a minimal composition that draws attention to the scale and symmetry of the waterfront development.

Prince’s Dock is quickly becoming one of my favourite areas of Liverpool to revisit with a camera.

21/05/2026

A different way of showing movement through photography.

This multiple exposure image captures Rhian Roxburgh diving into the water during the Weswimrun Eliminator at Prince's Dock. Combining several moments into a single frame helped show the rhythm, energy and progression of the action in a way a single image could not.

Liverpool’s docklands continue to provide some fantastic backdrops for sports photography and creative experimentation.

20/05/2026

There’s something captivating about a city reflected on still water. This is an image across Prince's Docks at night, and it is perhaps one of my favourite locations I have visited recently.
The contrast between the modern architecture lining the waterfront and the iconic, illuminated Royal Liver Building standing proudly in the distance creates a perfect urban scene. The still water provided an amazing canvas for these reflections. This is definitely a location I intend to revisit to take more images of Liverpool's beautiful docklands in the future.

13/05/2026

One of the challenges of photographing events for clients I work with regularly, such as Weswimrun’s ‘The Eliminator’ at Prince’s Dock, Liverpool, is ensuring I continue to produce fresh and engaging images rather than repeating the same photographs at every event.

For me, sports photography is about more than documenting competitors crossing a finish line. I want to create images that help the event organiser stand out, attract future competitors, and convey the event's atmosphere and identity more creatively and authentically.

Over time, I’ve naturally moved towards a more documentary-style approach to sports photography, stepping away from the traditional race-bib recognition and high-volume post-event sales model. That approach keeps me invested in the event itself, and hopefully that sense of involvement comes through in the images I deliver to my clients.

01/05/2026

Trying something a bit different — an anamorphic lens on a very still morning with .

Composing takes a bit of guesswork (compressed view + manual focus), but once stretched in post, it gives a really natural width that works well with reflections and foreground detail.

Early days, but a useful addition to the kit.

Many thanks to for helping select this type of lens.

30/04/2026