Tell me more about your printmaking. I don't know how old you are--thirty-something?--though I'm guessing you're a digital native. How did you get to be such a fine analogue printer? It seems as though your introduction to the darkroom was kind of a requirement of your illustration curriculum. Something or someone must have thrown the "on" switch for you. Do you recall realizing that photography was going to be such a critical part of your life?
I'm a 50-something, fortunate to grow up in an analogue age without modern gadgets. Given the chance I'd go back in time rather than into the future. I have digital cameras but no longer use them when making work. I'm holding on to my analogue workflow, cameras, film and making prints.
I don't think there was an on switch with photography. Painting and drawing takes time to produce a piece of artwork, I guess I could see results quicker with photography. Then it stayed with me and as most people it became a tool to document or capturing something as reference for a piece of artwork.
After college I built a darkroom in the attic of my flat to keep my photography bug alive. I was very isolated back then, experimenting with printing, scratching the negatives, flashing with light, but never showing anything I produced. It was a hobby which had some connection to my day job and Instagram was 25 years away!
Not at all! Wales is a generally a very wet and dull part of the world when it comes to light, it rains here a lot. We do get some sunshine though and it can be beautiful but I prefer our low flat light which can be difficult when shooting slower films like Ortho. It’s not that I’ve had to learn this light, I just fell more comfortable with low flat light.
Is there a photographic tradition in Wales that you've tapped into? Who have been your strongest influences as a photographer? Or what--influences come in many forms. Did you go to school for photography? Or something else?
There’s a thriving photography scene in Wales and we’re extremely lucky as a community of photographers to be treated to exhibitions and showcases. My local gallery, The Oriel in Colwyn Bay hosts regular photographer talks and exhibitions as well as a bi-annual international photography festival called Northern Eye.
I trained as an illustrator in art college and was introduced to photography as part of the course. We had access to cameras and fully kitted out darkrooms and photography studios. I’ve worked with photography alongside my drawing and painting ever since. I draw influence from so many different things and it changes constantly. I’m always looking, exploring and learning.
I get inspired by the look and feel from a medium such as texture from the artist brush marks. Seeing Rembrandt’s self portraits in a gallery in for the first time brought me to tears. Standing there, staring in wonder, examining the paint as closely as I dared to get to the surface. The minimal muted browns and blacks he used to create mood had a profound impact on me and how I now see. Just look at the painting below, this is burned into my mind.
I look at the medium of black and white film in much the same way. I try to capture a mood and feeling with a limited palette as honestly as I can.
I hope you aren't offended that I thought of you as being 30-something! You just have such ease with IG and Substack that I made an assumption. You're a 20th century baby, like me.
You have really honed your printing craft. The test print grid attests to that devotion.
Tell me more about your printmaking. I don't know how old you are--thirty-something?--though I'm guessing you're a digital native. How did you get to be such a fine analogue printer? It seems as though your introduction to the darkroom was kind of a requirement of your illustration curriculum. Something or someone must have thrown the "on" switch for you. Do you recall realizing that photography was going to be such a critical part of your life?
I'm a 50-something, fortunate to grow up in an analogue age without modern gadgets. Given the chance I'd go back in time rather than into the future. I have digital cameras but no longer use them when making work. I'm holding on to my analogue workflow, cameras, film and making prints.
I don't think there was an on switch with photography. Painting and drawing takes time to produce a piece of artwork, I guess I could see results quicker with photography. Then it stayed with me and as most people it became a tool to document or capturing something as reference for a piece of artwork.
After college I built a darkroom in the attic of my flat to keep my photography bug alive. I was very isolated back then, experimenting with printing, scratching the negatives, flashing with light, but never showing anything I produced. It was a hobby which had some connection to my day job and Instagram was 25 years away!
Do you find the light in North Wales to be generally well-suited for Ortho?
Are you native to this light? Or have you had to learn it over time?
Not at all! Wales is a generally a very wet and dull part of the world when it comes to light, it rains here a lot. We do get some sunshine though and it can be beautiful but I prefer our low flat light which can be difficult when shooting slower films like Ortho. It’s not that I’ve had to learn this light, I just fell more comfortable with low flat light.
Are you Welsh by birth?
Welsh born and bred. I'm very patriotic, I love my country (UK) and feel very proud to be Welsh.
Is there a photographic tradition in Wales that you've tapped into? Who have been your strongest influences as a photographer? Or what--influences come in many forms. Did you go to school for photography? Or something else?
There’s a thriving photography scene in Wales and we’re extremely lucky as a community of photographers to be treated to exhibitions and showcases. My local gallery, The Oriel in Colwyn Bay hosts regular photographer talks and exhibitions as well as a bi-annual international photography festival called Northern Eye.
I trained as an illustrator in art college and was introduced to photography as part of the course. We had access to cameras and fully kitted out darkrooms and photography studios. I’ve worked with photography alongside my drawing and painting ever since. I draw influence from so many different things and it changes constantly. I’m always looking, exploring and learning.
I get inspired by the look and feel from a medium such as texture from the artist brush marks. Seeing Rembrandt’s self portraits in a gallery in for the first time brought me to tears. Standing there, staring in wonder, examining the paint as closely as I dared to get to the surface. The minimal muted browns and blacks he used to create mood had a profound impact on me and how I now see. Just look at the painting below, this is burned into my mind.
I look at the medium of black and white film in much the same way. I try to capture a mood and feeling with a limited palette as honestly as I can.
Can't upload so here's a link to the Rembrandt:
https://en.wikipedia.org/wiki/Self-portraits_by_Rembrandt#/media/File:Self-portrait_(1628-1629),_by_Rembrandt.jpg
Magic! Great portrait
Thank you Neil. It’s magic every time the image starts appearing in the developer.
I hope you aren't offended that I thought of you as being 30-something! You just have such ease with IG and Substack that I made an assumption. You're a 20th century baby, like me.
You have really honed your printing craft. The test print grid attests to that devotion.