Images were captured using a Phase One system with minor embellishment in Capture One. Although the initial images are colour I also manually transform each picture into the purity and beauty of black and white. Regarding equipment, I use everything from self-built pinhole cameras to advanced digital systems. Black and white paper and film negatives have intrinsic qualities that I will always love. Digital allows great feedback, control, organization and productivity. Both are powerful media requiring craft skills when used correctly. Combining the power of digital with the beauty and hand-crafted element of Classical Photography is a great way forward. For example, my two current aims are to learn more about digital masking/montage and also to learn the gravure process. My influences are wide-ranging. In addition to hundreds of art and photograph books I enjoy reading science in general, cosmology, theology, philosophy and poetry. I love painting especially that of the Renaissance, Impressionist and Abstract Expressionist schools. The lighting in art films and theatre are also influences. The work of light artists fascinates me. For example, James Turrell creates magical environments in which the qualities and properties of light are replicated and enhanced in front of the viewer. This is revelatory. My aim is to mediate the properties of light via photography. Abstraction was always natural for me, so I love photographers with abstract visions of the world such as : Moholy-Nagy, Minor White, Man Ray, Alexander Rodchenko, Frederick Sommer, Paul Strand, Brett Weston, Aaron Siskind, Hiroshi Sugimoto, Tokihiro Sato, Todd Hido and Alvin Langdon Coburn (Vortographs). The greatest influence is the inexhaustible reality of light around us. We just have to look deeper. To create the work I initially imagine and sketch, then plan shoots (email/phone, collect props, organize lights, costumes etc), take the photographs then follow with minimal post production. In parallel, I am continually recording light patterns that feed back into the creative process. I always follow the light where it leads and select/decide as the photographic session evolves and also later during image selection and post production. Photography is essentially image making, i.e., using your imagination: you must mentally visualize (or have a clear direction) prior to planning, setting lights, using a camera, post production, exhibiting. Happy accidents happen but you choose how to follow these gifts of grace based on personal vision. Computers or chemistry are simply vehicles to express what is in your imagination. Style just happens during the process of following your own path and interests. The selections an artist makes determine that unique pathway and thus style emerges. To base a style on a technique (analogue
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or digital) is dangerous as technology and materials pass so quickly: instead, the image is paramount. There are always universals and particulars: for example, there is the vast arena of light and the specific area you choose to investigate. There is history and personality: no-one can see/interpret this light in exactly the same way that you can. Every artist in some way wants to reveal the invisible Credits Model: Katy Cee; Assistance: Franรงois Boutemy at Simulacra Studios, London. Light images were photographed throughout Northern Ireland and Southern France.
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