During the 1920's and 30's, Alfred Stieglitz photographed a series of clouds. He called them "Equivalents". This title was based on discussions which often emerged at Gallery 291 in the previous years. They stemmed from Kandinsky's theories, particularly the belief that colours, shapes and lines reflect the inner self, the emotional "vibrations of the soul".
Over the years I have been searching for that inner self through photography - a search which I know will never end. I believe that allowing instinct to play a major role in the photographic process is key in the creation of a free flow between the inner self and the photograph.
This instinctive photography features very strongly in my work, both at the capture stage and also at the post processing stage. In this set of images (which will certainly continue to grow), I try to explore the "soul" of my surroundings, and my own, through a technique which on one end creates a layer of abstraction from the physical manifestation of things, and on the other end creates a collaboration between myself as a photographer and nature itself, by introducing that unknown, uncertain, or "random" factor into the image. Not having full control of the final image allows for a connection with our surroundings that is almost tangible and certainly real.
See an interesting article on thethirdray.com
I’ve been wanting to post this for a while now. Last year I had the honour of being photographed by Corsican photographer Antoine Giacomoni. Giacomoni has been photographing rock stars for the past few decades (although being photographed by Antoine does not in any way imply that I am one). He still photographs with film, and the process is actually so fascinating that when given the opportunity I immediately wanted to experience it.
This is a debate that has been raging on for a very long time. I would even dare say that at the moment it is probably hotter than the “is photography art” debate, which I feel has started to settle down, although we all know it will never really end.
I have noticed that over the past weeks/months, the argument of whether a photographic artist should issue work in limited editions has started flaring up again. I have personally had this dilemma from the day I printed my first photograph with the intention of selling it. A few years ago, I had a totally different view, centred around the value of a photograph being bound very strongly with it’s rarity, in the same way that many people prefer to purchase paintings or sculpture because of their uniqueness. Most of my initial work was thus issues in editions of only three.
Today, after many years and maybe some more sense and experience, I have finally decided to put an end to this dilemma. I have made a decision moving forward, and it is to not limit my prints any further. There are many reasons which lead me to this decision, but now that I have made up my mind, it all seems so much clearer to me that I wonder what took me so long to figure it out.
Every year, I try to keep myself on edge by participating in some international competitions. Some are better than others – one of the better ones in my view is the Spider Awards, mostly because the quality of the submissions is quite high. This year I submitted a few images, and to my surprise they all made the final stretch, getting a...