Who

I am a web designer professionally and a photographer through choice (but sort of professional in the sense I do make money from photography, I’m a NUJ freelance … but I still need the day job lol).

I’m based in Deptford, London, UK and have a strong sense of location, an affection for the area specifically, and a love of London in general.

What

I set up a photoblog at http://deptfordvisions.com in 2006 to record my experiences in (re) learning how to use my film cameras. Despite the blog title, there are also many photos from Greenwich, Blackheath and elsewhere. Anywhere I have a camera really, but mainly based around Deptford & SE London.

This site includes a new iteration of that blog but is primarily a portfolio and a client proofing site.

After a full year of using film almost exclusively I let plurality back into my life using digital again.

The year of film was an incredible learning experience. Learning is the key, especially with regard to developing film. I get more proficient as I do more, but the bar was low to start with. It took six months of trial and error to finally decide on Kodak Tri-X and Ilford FP4+ as my 35mm films of choice. Likewise Rodinal to develop the FP4+ and Kodak HC-110 for Tri-X.

Half way through the year I turned everything on its head because I fell big-time for medium format photography using 120 roll film and vintage cameras. That soon settled down to a preferred choice of FP4+ 120, usually at EI100 in Rodinal for between 15-16 minutes and HP5+ 120 @ EI 200 in HC-110 dil ‘H’ for about 8 minutes.

As a result I barely used 35mm for the second half of the year.

And now I have a 4×5 pinhole and a box of Fomapan 100 to go in it. Aaaah! What next?

Why

I try to capture the errr, spirit of what I’m seeing, so I include photographs that are are not technically perfect. Mmmmm. Lo-fi photography alert! My excuse.

Abstract expressionism sometimes has a lot to answer for.

And recently, it seems the CIA may also have had something to answer for in this respect too, allegedly slush-funding/bunging the buying of American artists’ work in the 1950s to ponce their market value and status and put a dampener on that ungodly commie art from Russia (lol). You can’t make it up. Myself, I’ve often wondered how Cy Twombly got such a rep but apparently some works of his hang on a hidden wall in Langley or wherever these people operate from. And the real pisser is that it worked! Twombly’s work is worth a fortune now.

But back on track, if I knew how to take a good picture, I’d do it every time. Somebody said that, not me.