- Composite photographer that does both commercial work and independent work. Photographing came about when he decided he wanted to push himself in something that he was not familiar with, a drive that has continued throughout his practice in the way that he tackled portrait photography specifically because he wasn't confident in that area.
SEALAND: This place does not actually exist: he composed it from a number of different images in his archive using Photoshop.
- He's very interested in immersive photography: that seeing photographs in a gallery should be an experience. He set up prints of photographs and videos from a project in Iceland on curved walls. What he was particularly interested in about Iceland was the short days: he wanted to play around with a dusky feel and capture how Iceland still feels like it's emerging from the ground.
LAST LIGHT - DYRH LAEY, Iceland- 'Hidden Manchester' - tunnels in Manchester, underground, abandoned etc. His photographs contain a lot of detail and can be blown up to very large scales without decreasing the quality. For this reason, the images captured the essences of these derelict spaces really well.
St Phillips Church Crypt - Exploring Manchester
- He spoke a little about curating work and setting up prints for exhibitions: their position, how you mount them on a wall is so important. Light boxes can make images glow with vibrance. He advised putting money aside to get the most out of the lighting and in turn the most out of the prints.
- He tries to take influence from as many places as possible: movies, painters etc, odd and old places in new cities. He ensures that he exhibits at least once in Manchester every two years, whether that be a group exhibition, a commissioned exhibition or a self-funded exhibition. He feels it's important to upkeep that element of your practice. A good way of making money is selling the work prior to the exhibition so that you have the funding while you are setting it up. He finds it fun doing self-funded exhibitions because you make all the rules.
- He spoke of a few creative agencies in the city, some in the Northern Quarter. He recommends building a good relationship with agencies because that can get you a lot of work. He worked particularly with Raw Design, and they were able to offer a project to him involving the BBC Philharmonic Orchestra. He was commissioned to take photographs that represented each of the pieces of music. In some cases, he had to add certain bits or play around with the composition on Photoshop to adapt to the portrait dimensions, as he is typically familiar with landscape, almost panoramic shots.
Wood Nymph - For the BBC Philharmonic Orchestra
- Working with people in your peer group and developing your own exhibitions and building things up with them is a really good idea, because you don't get in above your head that way and you are already a part of a solid network of people that you can relate to and can work well with.
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