The photo SHOWCASE features my own photography. The images in the 5 different galleries are themed by mood and subject, rather than genre. I’m not showing much of my commercial work, but some of the editorial fashion shoots and designer shoots are included.
AS SHOT IN-CAMERA vs PHOTOSHOP POST-PRODUCTION
For my own photography work, I usually manipulate the colour – grading it to give it the right feel – and I clean up the images to remove distractions. But the images are pretty much as I shot them, and I try to use as little retouching as possible. Call it laziness, or the ‘retoucher’s revenge’ but I’m a big fan of getting the light right and constructing the composition in-camera. I’ve experimented a lot over the years, and you’ll find here some extremely long exposures on some of the portraits (especially in Vivid Dreamers) and some interesting diagonal focus scenarios (shot on 5 x 4). There is also partial movement and panning, double exposures and reflections – more in the newer work.
Back in the analogue days I used to shoot 6 exposures per look – or maybe 25 for an advertising shoot! That was the budget! Each click would then cost £15 to £20 so you can imagine how liberating it is to shoot digitally. Add to that the fact that you could not look through the viewfinder while taking the actual picture on a 5×4 and that the result could only be seen after a nail-biting hour for the lab processing. No Histogram, no preview. Phew! Today we can take more risks, and I love being able to review what I’m doing in the LCD, and keep pushing it till I’ve got it.
If you’re looking at my older images as a novice, or perhaps an all-digital photographer, you may wonder what was done in Photoshop to get certain effects. The answer is – not very much! The above view from my studio window is as simple as it gets. It’s pretty much as captured. When the sky goes pink, the whites go extremely blue. If you think I should have retouched out the aerials and cables, you may be more of a ‘leveller’ than a ‘sharpener’ – striving for perfection and balance. I’m a bit of both, but I believe in keeping a bit of imperfection and tension in images. It’s not the cleverest image ever – in fact it’s a very simple one, and a good example of just shooting a moment that grips you, and leaving it be.
There are some exceptions, where I montage the images quite heavily, usually to create an image that can be animated, and maximizing the ‘chaos’ until I reach equilibrium. These are shots captured in public places, often through windows, looking inside out or outside in. The Maelstrom gallery (in progress) will contain some montage work.