Septuagenarian Photographer, Visual Artist and Author, based in Nottingham, UK. Inspired by light, form and colour. Legends, fairy tales and Pre-Raphaelite paintings also play a large part in there. Oh, and Unicorns. Email: email@example.com
This is Meerkats in the Snow, a very early composite picture. I had shot the snowy scene at Rutland Water and Jan said it needed some foreground interest, so I popped in the meerkats. I remember doing a lot of ‘rubbing out’ and colouring in’ as it was before Photoshop and I really became friends. It was accepted into twenty five FIAP Salons and won three gold medals, two silver medals and a bronze medal. It also picked up a few medals in the BPE Salons.
Vigil in the Snow. This was never meant to be a competition picture. The tree is at Wilford Hill, a cemetery on the outskirts of Nottingham. I have photographed it many times in all four seasons on my visits to my daughter, who left us a long time ago. I particularly liked the misty atmosphere on a snowy morning and moved the lady along a little way to add human interest. It was accepted into two FIAP Salons.
Feeding the Ducks. A very early morning at Clumber Park with the trees disappearing into the foggy background. I transferred the man and the ducks from another photograph taken on the same day to add a splash of colour. It was accepted into one FIAP Salon.
Hoar Frost at Clumber Park. My abiding memory of this picture is that the temperature was -10 degrees and I was complaining bitterly. The conditions were lovely for a landscape shot, though, and the swans floated by at exactly the right time. I was already gaining a reputation for adding ‘bits and bobs’ and had to explain more than once that this was a straight shot. It was accepted into ten FIAP Salons and won a silver medal.
… did that get Neil Diamond singing in your head? Never mind; maybe you’re not as old as me – or a cricket fan. Anyway this is the story of the first ‘real shoot’ I did after I finished at university. They were taken for a competition in the Amateur Photography magazine and the only criteria was to use added light, but not in a studio.
We drove in convoy out of the city at night to a retail park in Netherfield. Martyn and Beverley in the first car, because Martyn knew where he was going; Hannah and Mason following on; then Sian and Jack; and finally, Jan and I. The dark street was perfect. The story was that Hannah was a ‘working girl’, standing under a lamp post waiting for a punter. So I had light shining down on her head and also from Sian’s car, parked to the left of the shot with the headlights on. Mason was driving the car in Mean Streets, pretending to be a punter. It all went pretty well, considering I had only a shaky idea of what I was doing. Working Girl ended up being a composite but Mean Streets is a straight shot. It was either 2013 or 2014 when we did this and I look at them now and think, “I wish I’d known ….” but everything’s a learning curve, is it not? It was only as we were packing up to go home that we realised the fence to the right of the shot bordered the Royal Mail depot and we’d had a very interested audience of postal workers while we were working! It was Hannah’s first experience as a model and she proved that night, and many times since, that she’s a natural, responsive to direction and patient, as well as being adept at the snappy answer.
These were the first two pictures I ever entered in a FIAP Salon, hoping to achieve the first level of AFIAP. Working Girl was accepted into five FIAP exhibitions. Mean Streets was accepted into twelve FIAP exhibitions and earned a Highly Commended, an Honourable Mention and a Judge’s Award.