MY APPROACH

Relying on a tripod and careful positioning of equipment, my approach is slow, studied and selective. It is not an attempt to record a moment of action. Although with portraiture I may try to capture a fleeting expression if I can, nearly all chosen subjects allow me time to compose the shot. Photographing outdoors, the grand vista can be overwhelming and beautiful but does not easily work for me as a picture. I am often drawn instead to the small details: the knarled corner of a tree trunk, a swirl of water or a piece of quartz gleaming in a rock. It is exciting for me to find these hidden treasures and try to extract a satisfying composition from them.

It is also important not to interfere. Apart from moving a discarded drink carton or pushing an intruding stem aside, I will not rearrange a scene as I realise that, eventually, it will start to feel contrived. With still life, like portraiture or figure studies, arrangement is a part of the process yet I strive to avoid the impression of a set up by keeping the background and lighting as simple and natural as possible.

長年の写真家としての経験を通し、次第に私の興味の対象は、自然に存在する抽象的な物,主に、独自のユニークなデザインから成る模様、柄、特質等に絞られていきました。
それらが特定の被写体であるという事は、それ程重要ではありません。
私が白黒フィルムにこだわる幾つかの理由として、イメージから色が完全に削除される事で、模様それ自体の特質がより強調されるという事、他に、白黒写真はカラー写真と違って、イメージ自体から雰囲気や感情の豊かさを容易に表現出来るという利点にあります。