1. the Idea
Within each image, I try to convey a sense of story. I want the viewer to develop their own narrative. I try to simplify the scene and by using a combination of tone, light, colour, and composition I encourage the viewer’s eyes to ‘dance’ around the image. I lead them down a path where I am the guide.
2. The photographer
I don’t have any pretensions. At least I don’t think so. What you see is what you get with me. Now in my 50’s I enjoy the simple things in life. A quiet beer with my wife. Playing with Layla, my dog, or Onyx my cat. And whenever I can, getting to travel and see different things.
When choosing something to photograph I tend to steer away from the tourist sights. They have been photographed millions of times and who wants to hang around heaps of tourists anyway. I like nothing better than finding something that is not in any guidebooks or at least is not drenched with people. Sometimes you can’t avoid certain places, you just have to visit them and there is a good reason for all the tourists, but as a general rule, I love nothing better than heading down random roads with no destination in mind and seeing what I come across.
I have been into photography ever since I was a teenager. Even though I have been taking images for decades, I still wouldn’t call myself a technical photographer. Sometimes I can be perplexed by all the options on modern-day cameras. I take images by a sense of touch. No, not literally, but I use my senses and have a ‘feel’ for what makes for a great image. Once I have worked out a composition, I then turn my attention to the camera. I see it as a tool, and just like a painter would use a brush, I use the camera to convey the scene and the emotions it evokes in me.
There is no greater feeling than working on an image and getting feedback on how much others have enjoyed it. Photography is intrinsically linked to my self-worth and I am happy to report that my self-worth is positive and healthy and I hope to be doing this till the day I die.
3. the Design
They say that a photograph is only a photograph once it is printed. I try to take my prints to the next level by having them printed directly onto heavy 450gsm archival premium canvas. Unlike most canvas prints, we infuse our canvas with archival pigment inks to ensure that the print will last a lifetime and beyond. We then wrap the canvas around a hand-cut, double-profiled hardwood (not Pine) stretcher frame. This ensures that the print sits flush against the wall and the outline of the timber won’t show through the front of the canvas. This frame, unlike cheap Pine stretcher frames, will not bend or warp with humidity.
The stretched canvas is where most others stop, but I take it to the next level by, at no extra cost, hand-framing it with a premium wooden molding. The canvas appears to float within the frame and gives the work the best possible presentation. No corners are cut and the finished product is ready to hang with all the fixtures and nothing left to do. It is then backed up with an unconditional 75-year unconditional guarantee.