Mike Reeds’ name is still synonymous with Film and Video Post Production, having worked as a TV commercial editor for well over 45 years, running one of the most successful and renowned post houses. Many awards were gained in editing and the F.A.C.T.S Hall of fame , “The Most Creative Contribution” twice by the Melbourne Art Directors club and MADC Life Membership. Also gained the ASE accreditation as an Australian Screen Editor. But when not chasing horrendous deadlines, he was out capturing the world around him, by grain and (now pixel) during the short infrequent breaks in the torrent of brain numbing schedules. Now retired, photography is number one priority for his expression and creativity. Storytelling has been paramount in all his commercial life, then in minutes and seconds, but now single frames. Mike always seeks the humour or odd twist and from “outside the square” seeking and trawling for the quirky, double meaning, juxtaposed oddities of life around him. He travels widely, but always includes the back streets, the low roads and uncommon grounds. Mike has been rigorously exploring, producing and exhibiting his work for nearly a decade. He shoots and exhibits with AASPI, MAP (Many Australian Photographers) and the Image Chasers. His book from his earlier solo exhibition at the Colour Factory on “Shrouds “ explores the ‘rebirth’ and the covered car and is in the National Library Canberra as his other book which recorded in Perth, a photo essay based on Gina Reinhart’s Doggerel called “Our Future”. He had a successful solo show with 3000 Streets and published two books in 2021 He is currently working on a number of books and projects including, Abandoned for Albumen Gallery London and “ROADWORKS AHEAD” graphical studies of roads for solo shows in 2022. Recently he has been selected a landscape finalist in CLIP awards in Perth and last year Most Humour Award at CCP and again same in 2013 Last September his work was selected by the Editor of “Life Framers” in their 'Street Life' theme, with editor commenting on the 'humorous visual narrative that Mike conjures through sharp timing and a clean composition'