Here are some of my favourite images together with the story of how I came to take them.
Way back in 2011, I was fascinated by the buildings in Manchester – mainly the Victorian and Edwardian commercial architecture. There was lots to go at, and much that was in an attractive state of dilapidation. But there’s lots of modern buildings too and I regret not photographing more while I was there.
Thought-through or intuitive? Do your pictures depend on your experience or do you just go exploring?
Sometimes, when you take a photograph, you know immediately what it’s about. Other times, you’re not so sure. This was one of those times.
You get the telescope out to try and see more clearly but it doesn’t help. It’s the wrong way round. And they’re getting further away.
Has something just happened? Or is something about to happen? Or perhaps nothing ever happens up here in the waiting room on the roof of the known world.
Thoughts of home after the uncertainty of carefully picking your way up river past sandbars and shoals.
It’s as though the bridge is being cast in front of your eyes, a trail of molten gold flowing along the raised track.
The story behind the image. There was something about the line of gravestones not just leading to the door but also taking you back in time as you walk along beside them.
Bamburgh, 2016: bringing myths to life – the story behind the image.
Piemme, Bologna, 2006: the story behind the image
It does seem I get inspired by bad weather. I just needed 50 seconds between squalls to get the long exposure shot, and I wasn’t getting them.
Going back through my pictures, I’ve been finding it far easier to identify interesting monochrome images to document rather than colour ones. Better? Or just different?
The story behind the image. By daylight the scene is nothing to write home about. But at night, nearly midnight, all those extraneous elements and colours just disappeared, and the atmosphere of the Venetian night took over.
“But it’s just a picture of a wall!” It’s also a picture of ambition moderated by pragmatism, of nostalgia, of seeing how things were, how things are now and how they got there.
As soon as I saw the negative emerge from the developer I knew I’d got something worthwhile.
It’s the sort of picture I’ve always longed to be able to make – technically and compositionally appealing.