I use photography to show something about where I’ve been or people whom I’ve met. As well as trying to see the beauty in a scene or situation, I’m also trying to convey ideas and feelings. My photography is about me and what I do, who I meet and where I go. All my photography tries to contemporary and creative. I’m resistant to being fitted in to a taxonomy by categorisation such as “travel” or “conceptual” or “nature”. All image-making is political simply by the act of selection and hence exclusion but I am not campaigning for any particular point of view, except to try to see the positives and to live life to the full.
I use 645, 35mm and DX formats plus a handy little digital compact that shoots RAW files. I’ve experimented with non-lens photography - do ask!
I first worked in a monochrome/silver wet darkroom at age 7, helping my Father with scientific prints; I’ve used colour negative materials since age 21 and digital since 2005. I use Photoshop (Adobe) and Photopaint (Corel).
Pillars thrusting upwards, waves of tessellated roofing, light, shape colour and overwhelming detail: words that might describe the architecture of a religious cathedral. But this is the Retail Cathedral in Shepherds Bush in West London. The central area is decked out with Christmas lights - sorry, Festive lights - and currently clear, awaiting the seasonal spectaculars.
Westfield London first opened in 2008, one of the largest shopping centres in Europe in terms of retail floor space.
Yes, you can still see the famous ballerina Anna Pavlova (d. 1931) at the Victoria Palace theatre, London SW1! Her gilded statue shines brightly in the morning light above the theatre, greeting commuters arriving to the steel and glass office blocks which now dwarf the graceful theatre designed by Frank Matcham, which opened in 1911.
But I couldn’t see Raspberry Pavlova, the meringue, cream and raspberries dessert which carries her name, offered on the menus of nearby restaurants...
Fort Queyras and Mont Visio (3841 m.)
Driving up the Valley of the Durance in Provence, the river bed is alight with the autumn colours on all the vegetation, the ash and silver birch trees put on a particularly vivid show. Travelling upstream towards the mountains, I get the impression of moving though the stages of autumn as the colours slowly go darker to late autumn as the kilometres pass this trip’s hired Clio.
The snow-covered granite mountains, Alps and Écrins, gradually come in to view; now the super-white brilliance of the snow left by this October’s storms steals the show, topping off the visual treat of the Provence topography.