about-imagebw.jpg

Though I was born in England, where my father had been posted with the Royal Highland Regiment The Black Watch, I am a proud Scot and it’s in Scotland where I do all of my work, living now as I do close to the southern shore of the Moray Firth an inlet of the North Sea on the North-East coast. 

Living where I do I'm surrounded on all sides by natural beauty but, though I've been walking on and casually photographing the Scottish Highlands, - my cathedrals - for most of my life, photography was nothing more than an adjunct to the hill habit. So, following a career in the Royal Air Force Regiment (air force equivalent of a marine), where I had been known for the occasional foray in to creative writing, it wasn’t to photography (or indeed body-guarding, which I had trained to do) but to screenwriting that I turned. And so it was going to be until, while wresting my brain during a screenplay re-write, I had cause to flick through an old album of hill photographs… and had an epiphany!

Entirely self-taught, I initially took up traditional fine art colour landscape photography and continue in that vein if serendipity serves up a keeper, but I was never happy just making photographs where mother-nature did much of the work.  I needed to set the screenwriting imagination free.

Black and White was my first evolution and it’s not that obvious a move since the process of seeing and taking monochrome is quite different to colour. I of course took photographs in (or more accurately since I shoot digital “for” Black and White) but realised later that some originally colour work converted better to monochrome than the intended black and white images did and ridiculous as it sounds, it isn’t always that obvious at the time!

A further evolution is that of night photography. I am by nature a nighthawk so can frequently be seen (if you’re as mad as I am) waving a torch for lighting, often in places where many wouldn’t venture in daylight.  And that of course leads on to photographing starscapes (works in progress), and the sadly infrequent wonders of the Aurora Borealis…both of course when the Scottish weather allows.

But where the creative freedom really gets up a head of steam is with “photo impressionism”, something that I stumbled in to thinking it was something new but which, it turns out, has been around ever since the camera was invented!

When I started tinkering with Intentional Camera Movement and long and multiple exposures (frequently in combination) I turned out images of wildly varying worth but have at last I reached a point where I think the images are viewable by other members of the human race. During the learning process I also concluded that I could do a more natural and personalised job of blending the images together than either Photoshop or even my camera by playing around with basic adjustments and using layer masks to selectively blend any number of often very different photographs to arrive at a final image. The possibilities are endless and most importantly produce results that are difficult, if not impossible, to copy. Some film die-hards will of course scoff stating that shooting digital makes things much easier. It does, but if digital makes things easier… do harder!

Oh and just to be clear, my impressionist images are developed in Photoshop not by Photoshop, there’s a big difference..

I don’t think I could claim to have developed a recognisable style yet and maybe never will since I dabble in so many different styles of photography, so the evolutions will doubtless continue.

Thank you for your interest. If you have any comments or questions feel free to get in touch via the contact page.