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Photography grabbed me aged six when my parents gave me a toy, but working, 120 film camera. Photography has kept me sane – to stop the world in an instant, to learn how to see and to take stock. Decades have passed and a hobby that took back place to other pressures of life has doggedly pushed forward to truly take hold. \u2018Street\u2019, \u2018\u2026scape\u2019 and \u2018macro\u2019 are my main interests. Classic photographers were and are an inspiration – Robert Doisneau, Garry Winogrand, William Klein, Cartier-Bresson, Josef Koudelka. I find few contemporary photographers with similar impact. A few who stand out are Boyd and Evans, for their wonderful landscape work, and Erez Marom, especially his exquisite macro work. My wife, a painter, introduced me to painters of the 20C and today. She de-mystified them and made their work accessible. As a result I find that several painters influence my approach to photography. For example: <\/span><\/p>\n Edward Hopper\u2019s paintings are beguiling. They convey the feeling that something significant is about to happen or has just happened. I try to echo this in my street photography \u2013 an expression, an interaction, something knowing, bizarre or quirky that cause the viewer to ask just what has happened or is happening. Eduard Munch used photography and it influenced his painting. He also had a serious eye complaint \u2013 something I share \u2013 and his paintings of that time show so dramatically and accurately the effect on his vision. Light is everything in photography.<\/span><\/p>\n Photographers struggle with dynamic range, painters do not. Seeing the work of Patrick Caulfield was the first time I \u2018got it\u2019 and learned to exploit rather than fight dynamic range.<\/span><\/p>\n I cannot list all the painters and photographers I admire and draw inspiration and ideas from. Time is too short while I continue the search for my own language in photography. <\/span><\/p>\n
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