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It was a street scene from New York which quite simply looked like an abstract acrylic painting, but was obviously a photograph. Then one day an image by Valda Bailey popped up in my Twitter feed. I’d come to the end of this period of my work and I started to pay more attention to other UK photographers on Twitter, having been previously distracted by more international based photographers producing fine-art composites and travel photography, which can begin to blend into one. While I loved it, the pixel-by-pixel attention I was giving my long exposures was literally driving me nuts, so I began to throw heavy focus blurs and heavy grain over these images in post-processing in an effort to ‘break’ them. When did you first discover abstract photography? Preferring the highly stylized and processing involved in long-exposure photography inspired by the beautiful architectural works of Joel Tjintjelaar, I dove deep into that for a good few years. For so long I preferred and pretty much referred to myself as a black and white photographer. I’ve always been one for experimenting so I’d tried IR within months of getting my first DSLR, and continued trying different styles and techniques.
#Stock art painting 4 elements of nature software
In those initial days this was in PaintShop Pro, and so this has no doubt driven my imagery being quite heavily influenced by how software can manipulate the data the camera captures. snapping every vivid sunrise or sunset any weather event a ray of sunshine casting pleasingly on the hills on the way to work jumping trout in the river where I spent my lunch breaks and making what I hoped were atmospheric images of old disused steadings on the estates I worked on, when I was supposed to be surveying them for conversion as my former role as an architectural draughtsman.Īll along, from even before my first digital camera in 1998/1999, I’d spent time in front of a computer learning the basic editing processes and tricks. So there would be views over the farm as the crops ripened with bright blue skies, down to the rapidly ruined state of an old hemmel as its roof falls in and with greenery growing from its wall head.Īfter I started carrying a camera everywhere. Also around was obviously plenty of nature, small woods filled with bluebells and wild rhododendron bushes. The steading itself was Victorian-era sandstone buildings filled with 60 years of detritus, old rusting machinery and with minimal maintenance, so was quite characterful with its ‘modern’ additions of hay sheds and livestock feeding provision that the Fifties/Sixties and beyond demanded. Scenes and views of rural and family life around the farm I grew up on. What were some of the first scenes/locations you shot? Give me fields of grass, quiet tree-lined lanes, a walk along a beach and a warm summer breeze any day! I’m very happy to spend vast amounts of time by myself, so being out in the landscape, with hopefully no one around, is a great way to relax and declutter the mind far from any hustle and bustle, concrete and tarmac. When surrounded by the iconic views of Bamburgh, Dunstanburgh, the famous coastline and Cheviots, you’re not really going to end up shooting high-fashion images, you’re going to be making images of the landscape. Living in the sticks in north Northumberland, there is little else apart from landscapes and nature.
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What attracted you to landscape photography, specifically? Then by 2004 I stepped up from my first digital camera to being a DSLR owner, and never looked back.
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Suddenly there was no development costs and not every shutter press was a financial burden. While the Nineties was a blur, at the end of it though was when photography began to take hold of me properly with the beginnings of the proliferation of digital.