Michael Lindsey Davison is a Melbourne based writer and photographer. His critical essays on technology have been published in Kill Your Darlings, Arena Magazine, Fragmented and The Age. He also edited Issue 3 of Fragmented, a small press publication consisting of essays, short fiction, visual art and poetry. He regularly self-publishes artist books and zines.

The images in his most recent book, Return of the Repressed (2016), were created using a flatbed scanner. Flowers, leaves and seed-pods were pressed against a photographic negative and then scanned. The images produced by this process look somewhat like a photogram combined with a photograph. The white shapes—the shadows of the flowers and leaves—obscure sections of the image found on the original negative. Often there is a blurring of scale as small objects are juxtaposed next to human figures, buildings and landscapes. It is made using Japanese stab binding with gold and black thread.

 The Quality of Her Care (2014) comprises of 34 black and white photographs that were taken in Penang, Malaysia in July 2014. The images, serious in tone and raw in style, develop a narrative of despair and alienation. The accompanying short story explores a tourist's visits to the seaside fishing village Teluk Bahang, the people he encounters and the cross-cultural divide that he inevitably experiences.

Forbidden Fruit (2014) uses a combination of poetry, prose and photography to explore the eroticism of food in contemporary culture. Interstice (2012), explores how photographs could be used to produce alternative spaces of perception. Double exposing 35mm film, first using one camera then another, Davison combines an image from printed material with one from the world around him. Originally a meditation on the commercial nature of the city, Interstice soon became a study of space, memory and perception.

In both his photographs and critical writings, Davison has explored how photography effects perception, how advertising, fashion and art photography intersect, and how the omnipresence of digital technologies, including mobile devices, have shaped our worldview.