I'm based in Chevening in rural Kent, the wrong side of middle age and have been fascinated by photography since the age of 5, when I first used my father's Brownie 127 to produce what I suspect were pretty dreadful monochrome images. As a frustrated conventional artist (many thoughts zero ability), I have found that landscape photography is an ideal artistic medium to allow me to express myself.
I find light, the ever changing landscape and the elements that make it up eternally inspiring. I'm currently working on different ways of exploring these elements both outdoors and in the studio. I work and think photographically mainly in monochrome which allows me to focus more on forms and textures without colour 'getting in the way'
Perhaps, because of my legacy in film, I don't feel that an image is complete unless it is a finished print. Every screen gives a different rendition and only a finished print ensures that the image appears as I saw it in my mind when I made it.
In the early 2000's I had the privilege of teaching film based photography to classes adults, over a 2 year period which made me look closely at the things that I'd done automatically over the last 30 years which was one of my most rewarding photographic experiences.
I’m currently fulfilling my lifelong ambition running a photography coaching and training business, whilst studying for a degree in Photography from the University of Kent.
During the 1990's I learnt a great deal from Fay Godwin and John Blakemore, who helped me to develop what style I have and to make images that please me rather than always trying to please other people (if you like my images that is great by the way). I also love the work of Paul Strand, Harry Callahan and Jane Bown.
Over the last three years I've gained a great deal from the teaching, mentoring and friendship of Seamus Ryan who has taught me different ways of seeing and interpreting the world (his images of flowers are awesome).
Having been brought up using film and making my own prints in the darkroom, I moved to digital fairly early on mainly because of the convenience and lower time cost. That said, I still make traditional silver images both in 6x6 and in large format and am starting to work with traditional processes using digital negatives.
Over the years I've moved from the a mix of Hasselblad 6x6 and a string of 35mm film cameras to a DSLR with many lenses. Are recently I've downsized to a mirrorless camera (Fuji X-T1) with a single 18-55mm lens. I find that this lets me concentrate on making the image, rather than on the equipment and I feel my work has improved since I took this approach. I'm also surprised at how few opportunities I miss due to lack of additional lenses.
As well as digital, I also use Area Swiss 5x4 and Yashica Mat 124 film cameras when I have the time to enjoy the film experience and the smell of the darkroom chemicals. Printer Epson 3880