I have this hopelessly romantic notion that ‘spirit of place’ is a metaphysical reality; that as humans we can be in a place and somehow communicate with our surroundings, allow ourselves to feel the emotion that’s wrapped up in the ‘spiritual energy’ of any given location.
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MAKING PHOTOGRAPHS

Making Photographs

I started making photographs almost 40 years ago, using black and white film and manual cameras. Through the eighties, influenced by some of my favourite photographers like Fay Godwin and David Bailey, I became enchanted with the alchemy of wet-process; spending thousands of hours in a self-indulgent apprenticeship, feeding an obsession to create compelling photographs.

The photographic world today is very different of course, but I’m even more passionate now about this magical game; and despite the digital revolution, the aesthetics of photography are exactly the same as they’ve always been. Photography is like a language, it takes time to learn, but with greater fluency comes the possibility of self-expression, and the process then becomes cathartic.

The joy of creative photography comes from encapsulating the soul or spirit of the location or subject and communicating that captured perception to the viewer of the final print. For me, even in this digital-age, it’s still all about the final print.

Over the last decade I’ve had some lucky successes in various competitions, which lead to some invitations to exhibit and eventually curating and exhibiting alongside some landscape greats in several exhibitions under the ‘Masters of Vision’ moniker. I’ve also enjoyed the incredible privilege of contributing to the judging panels on ‘Landscape Photographer of the Year’ and ‘Outdoor Photographer of the Year’ competitions.

'HETTY PIT 1985'
Great Western Mine Winding House, Hopkinstown, Glamorgan, South Wales
Canon A1, Canon FD 50mm f/1.8, Ilford FP4, Exposure details not recorded.