I’m a London based fine art photographer focusing predominantly on the study of light and its relationship with architecture. I use a process that eliminates the irrelevant while bringing attention to this bond.
The overarching statement that ties my portfolio together is the use the minimalism to enable clarity. By conforming to this simple rule, I am able to create a body of work that consistently achieves this. Minimalism is usually defined in this context as a deliberate lack of complexity in design and style. Its application is virtually limitless, and its influence is ubiquitous across all facets of modern life. Within the context of my own work however, I prefer to think of it not as a style, but as a facilitator for the above statement. Minimalism is not a parameter that I work within, but a style that is engendered from the visual statement I apply to my work. While the movement plays an important role in the visual quality of my work, it is important to note that it is a tool rather than a stylistic choice.
The process I use to resolve this minimalist quality is achieved through dividing the image into pieces that can be manually adjusted, enabling me the ability to artificially remove the aspects of the scene that work to the detriment of the overall effectiveness of the structure’s intended form.
An example of this reduction in elements can be seen consistently through the lack of background, darkened to such an extent that its presence within the image is virtually invisible. This contributes to diverting the attention of the viewer away from these extraneous elements, and towards the structure.
As a more inconspicuous example, the individual facets of the building’s facade can be seen to use the same essential techniques however in a more precise manner. Because of the steps taken previously to divide the image into sections, I am able to adjust the distribution of light as it falls onto each of these sections, creating a natural pathway for the eye of the observer to follow.
In this example, my intention was to bring attention to the symmetry and angularity of the Montcalm Signature, drawing attention to the dividing line that runs down the centre. Here you can see that the most visually persuasive section of the image is this central part, a result of the dramatic increase in contrast.
I like to think of this process as an amalgamation of both painting and photography. The painter holds total control over the elements within the canvas but lacks the accuracy and neutrality of the machine. The traditional photographer sacrifices control by shifting much of their artistic direction over to the camera, however this achieves a near-perfect representation due to the objectivity of the computer. My process marries the best aspects from both mediums, attaining the accuracy from the camera and the creative control of painting from post production techniques.