Douglas Adams, Mostly Harmless
My current work includes street photography, coastal landscapes, empty public spaces, sets of architectural features (such as "Steps", "Windows & Doors"), derelict machines and structures, London railway stations and experimental digital pinhole.
Growing up in London’s East End in the 1950s our family photos were mostly taken by my uncle on holidays to the country and around the big train stations and markets in the city. Always having an interest in photography, I was to become the very proud owner of my uncle’s tiny Braun Paxette camera. From this point on, in the late 1950s I took over the role of the family photographer documenting in much the same way as my late uncle.
My interests in image making are many and varied and have included landscape, macro, public events, unusual shapes, shadows and unexpected or found objects and viewpoints. I particularly enjoy taking unusual shots of buildings in city centres, where angles made from steel and glass offer some intriguing geometry.
I have always aspired to creating images close to the sea where the spectacular changes and quality of the light continue to give me inspiration and a sense of calm.
Influences and inspiration:
My uncle, Edward Ellis
Henri Cartier-Bresson for that “Decisive Moment” and spirals
Andre Kertesz for his sense of humour, wet streets and shadows
Robert Doisneau for inspired observation.