A Curious Brute

Crows. Wild yet fiercely intelligent, shy yet savage. Notorious in legends and mythology, and associated with misfortune and death. Remarkably intriguing creatures.

Years of landscape work taught me of their prevalence. They’d appear, tauntingly, alone or in their mobs, cawing an apparent desire to be photographed. Half-hearted attempts, however, had always proved my lack of equipment, skill, and most importantly, true vision to tell their story.

But they never gave up.

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Strangers By The Sea

Visiting the coast one afternoon, I'd rather naively hoped to find a completely empty stretch of shoreline. Unfortunately, the beach was scattered with people, all using the space for different things and all getting in the way when I tried to capture something that I liked. Stepping back to just watch for a while, I was struck by the comparative vastness of the environment - the immense ocean and sky dwarfing the people, making them look almost like toy figures in the distance. I was immediately reminded of paintings by L.S Lowry and some particular pieces by the artist Gary Bunt. Their work became an instant inspiration to me, and after a few lucky shots, I embarked on a very unexpected but exciting new project photographing people by the sea.

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The Moon And The Yew Tree

This series, The Moon And The Yew Tree, was inspired by the poem of the same name by Sylvia Plath.

My interest in the work of both Sylvia Plath and Ted Hughes began sometime after the discovery of a curious link, of sorts. It transpired that at one time, not only did my paternal grandmother, Helen, live at the same address as both Hughes and Plath, but her life and tragic demise are mentioned in two of Hughes' poems. Although the coroner reported an 'open verdict', Helen almost certainly committed suicide, and did so in the same manner as that which, later, famously took the lives of Plath herself as well as Hughes' next partner, Assia Wevill.

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Forgotten Postcards

Forgotten Postcards is a series of mono multiple-exposure photographs. The first four in the series represent my first ever experiments with using Adobe Photoshop to layer images together. Prior to this project, all the multiple-exposure images I created were made in-camera at the time that they were originally captured.

Over the last couple of years, as I've started using alternative and more 'creative' camera techniques, I've come to realise the irrelevancy of how an image is produced. I strongly believe that if a picture works artistically and is to some extent visually appealing, it really doesn't matter how the end result came together.

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