Photography
My photography
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 be 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).
March blizzard in Keswick, Cumbria. The whiteout merges the snow on the ground, the flakes in the air and the clouds.
Boat on the beach at Seaford, Sussex. A boat should be waterproof but maybe not like this.
The sun powers our world: almost all of our energy comes from it, yet it is rare to see it as it is. This morning’s mist diffused the direct view, but anyhow for maximum caution I set this image up using the rear screen on my DSLR. There seem to be two sunspots which I think are real, not optical artefacts.
Why is there colour? Why is one face brighter than the other? I think both are due to the effects of the mist.
“View from the transporter bridge towards the Quartier Saint-Jean, the Nazis plan the destructions”
Mairie (Town Hall), the only building standing after the destruction
Exhibition at the Vieux Port, Marseille in front of the restored Mairie (town hall), the only building remaining following the forced clearing and dynamiting of Marseille Old Quarters by the occupying German Nazis in the spring of 1943. This exhibition seeks to include more fully this sombre episode in the long history of Marseille; it gains peculiar power because the archive images are presented right where the atrocity took place. The 14 hectares of the city dynamited in 1943 have been rebuilt; but many, if not most, of the people who were taken away never returned. Also, there are no old trees in this area.
Group chilling out on the beach in front of Eastbourne’s Victorian pier. Sunny but air temperature +4°C. A photo that says “cold”.
