Can you tell us a bit about your work in THIS IS issue 1 and in general? I generally wander out with a camera in interesting light or weather and slip into a kind of heightened state of awareness, where I’m seeing the world as source of potential photographs. If I find a backdrop or scene I like, I will pause a while and hope an interesting figure will walk into it. I find myself drawn to the solitary human figure in an environment. Perhaps this reflects something about how I feel about myself, or it could just be my aesthetic tastes.
What kind of things do you try to address in the work you make? I’m not usually consciously aiming for a specific image – the world continues to produce enough surprises, so I just try to stay open to them and be able to adjust my settings quick enough to capture them. Sometimes though, I do want a certain look. For example, the photo of the reflections in the puddle. The weather was grey and awful, lashing down and just above freezing. I thought people would be hunched under umbrellas and headed to the South Bank with a 70-year-old old rangefinder loaded with fast, grainy b/w film (Delta 3200).
Who is one of your least favourite photographer's piece of work? I am not moved by most artists or authors, but I can’t think of anyone who actively offends me. Given the state of the world, I don’t have enough reserves of scorn to get worked up about anyone’s creative work.
Which photographer inspires the work that you like to make? Rothko, Saul Leiter and Edward Hopper spring to mind.
Your go-to Karaoke song? Karaoke makes me go out. If I were forced at knifepoint, I might sing “Jilted John” so they wouldn’t ask me ever again.
Is courgette a fruit or a vegetable? I respect whatever the courgette chooses to identify as.