Hello, I’m Philip. I live in a small seaside town in North Wales, UK and like to take
photographs mostly of my immediate environment of things that interest me and things
that most people don’t know is there street details, light and shadow,decay, minimalism
and colour is important. I have been photographing seriously since 2011 and tend to
shoot with no narrative mostly just whatever catches my eye/interest, images on my flickr
page are mostly from my home town or surrounding areas and a couple of shots thrown
in of my travels.
Photography has changed my life I’ve traveled and been to places i would never of been
to just because of my camera and the interest it sparks in me to document, when i leave
the house to randomly roam around with my camera i am at peace nothing else matters i
try not to think to much about what i want to shoot i just try let my subconscious do all the
work and see what comes out.
I originally started taking photographs when I turned thirty and had dreams of making my own short movies. I couldn’t afford a digital movie camera at the time, and the technology was new and unimpressive. Instead I decided to learn some basics with a still-shot camera, and that is how I ended up with my first Canon G-series Powershot. After a few years I found myself encouraged to show some of my work in a coffee shop, and then in galleries… and in this fashion a decade-and-a-half progressed in what seemed like a blink of an eye. Today I’m still taking stills, although aiming for a certain element of narrative tone and cinematic atmosphere in almost every shot.
These particular images are drawn from a series of night walks I’ve taken over the last several months through various neighborhoods in Pittsburgh, PA (USA). I feel it’s important for me to point out that, while I do use in-camera filters to achieve a certain feeling in my shots, I do absolutely no post-processing. It’s not that I have anything in particular against Photoshop (in fact I hold the skills necessary to make that program sing in high esteem!). But I am striving for immediacy in my work, encouraged by my knowledge that I have to find what I am seeking “out there” rather than in the comfort and safety of my home after the fact. I feel like this approach adds some creative tension that would otherwise be missing from my work. I’ve always worked better when I set some arbitrary parameters for myself.
I love exploring the underbelly and the back end of my city in the dark. Luckily I’m blessed with the size and bearing that seems to intimidate bystanders from interfering with my reveries. I have the feeling that one of the reasons people seem inclined to take time with my photos is the simple fact that many wouldn’t feel comfortable going where I go at such times as I prefer. At any rate I have a great time getting lost in the stories in my head as I wander through these alleys and gritty industrial nether-zones. I never fail to delight in the unexpected at the periphery of our everyday lives. To me there is nothing more authentic than a glimpse behind the face that society presents. I feel like my wanderings are full of such gifts, and I can only hope to capture and share them with others.
This photo project follows the fate of an old industrial site situated on the banks of the River Lune, in my home town of Lancaster in North West England. The majority of old factories and warehouses here had been earmarked for demolition to make room for a new affordable housing development. Long before the construction companies moved in these old buildings had been left to rot. I began photographing at the site at the beginning of 2013 and returned several times over the next 16 months.
During my first walkabout I got chatting to some people who were watching the buildings being torn down. They had been employed at one of the factories and were coming here daily to witness the demolition of the site. They felt an important part of the town’s history was being wiped out, and expressed a mistrust of the developers and those responsible for ringing the changes. It occurred to me that their memories and experiences had woven their way in to the fabric of the buildings; and as the buildings came down those memories would fade with them. It seemed wasterful that the old factories were not being restored to their former glory and incorporated into the new development. On the other hand, new people would soon come here to live in the affordable housing. Perhaps they would be optimistic and hopeful for a positive future; beginning the cycle all over again, and starting the next page in the history of the area. It was with these two conflicting thoughts at the forefront of my mind that I began taking pictures.
I’m Debbie, a full time Artist based near Lancaster in North West England. I walk, draw, paint, and make photographs about the landscape You can find me on flickr and via my website:
Ok, I admit it – over the years I did take a few pictures from a car (I don’t drive), a couple even from a train or plane. But that’s just because I carry a camera most of the time, and sometimes, though not often, I’m stuck inside a conveyance with windows that is spiriting me away to someplace else. When I was still living in Berlin, I never took a picture on the underground, a bus, tram etc. because that’s more for taking pictures of people, which I don’t do. Nothing wrong with it as such, I guess – it just doesn’t suit me. Most of the time I’m at my desk and, because I’m static, I don’t take pictures there either. For me, photography has to do with movement and places, with patterns and shapes, with objects in space – objects that frequently take on a life of their own.
And that’s the thing – the mysterious doings of things. People who shoot animal documentaries spent months in camouflage in order to get a few seconds of beastly activity on film. With objects – be they street lamps, cones, pipes, bins, or cars – this doesn’t work. They’re not shy like forest musk deer, not at all, they live on a very different plane – we reify them and they, in turn, anthropomorphise. However, as soon as we stop to observe and study them as if they were alive, they not only play possum, no, they become completely inanimate, that is, they’re not even a carcass, they’re just stuff that never was and never will be alive. The only way to get a tiny glimpse of their secret doings is to be on the move yourself and take pictures as you move along, hardly without ever stopping.
Which is why I never wait for the right light, for something or someone to get out of the way, or for inspiration. If inspiration’s not there on the spot, it will never arrive in time; if the light’s cruddy, so be it. What matters is to catch a minute view of the ballet of things, the moment just before all the objects that surround us in our cities, towns, and villages once again pretend they’re nothing but matter.
I’m Ian. I live just outside Leicester, UK and work ‘factory hours’, doing things far less interesting than making photographs. That means that at this time of year, I see very little daylight, so I’ve had to learn how to shoot at night and in very low light. I’ve learnt the way that secrets can be revealed (and hidden) by artificial light sources and the way that man manipulates his environment with light. I’ve also begun to see how a photographer can show the effects of this light in different ways, to tell ones own story.
These pictures form part of my nascent ‘More News From Nowhere‘ set that combines my taste for robust concrete architecture, shooting at night and the new (new) topographic work that I’m enjoying thoroughly at the moment. People like Jeff Brouws, Patrick Joust and Will Steacy combine these elements so well in the US (maybe less so the concrete) and I’d love to somehow create a UK version of the feeling that their work leaves the viewer with.
I’ve recently found (through Flickr) a night photography ‘scene’ in Australia that provides a similar aesthetic. The three countries look fundamentally different of course, but the simultaneous feelings of nostalgia and danger in the photographs, as well as their presentation of the mundane and everyday to us out of context, for us to consider at our leisure, are all thing that I aspire to do.
There are several contributors to the Urban Photo Publishing group who I find inspirational. Their photographs have helped me to define what it is that I’m trying to do with the pictures I make, especially Barry Falk’s (https://www.flickr.com/photos/51241173@N03/) ‘pissed in corners’ description. Finding other people that see the attraction of these spaces (and aren’t just producing ‘Crap Towns’ and HDRed abandoned buildings) has been a revelation.
It may be contentious, but I currently find more inspiration in work I see on Flickr than in many of the celebrated, classic photobooks. It can take some time to wade through the nonsense, but the joy of finding a photostream like Andy’s (https://www.flickr.com/photos/61249924@N06/), Ben’s (https://www.flickr.com/photos/benpatio/) or Andrew’s (https://www.flickr.com/photos/andrewdempsterphotography/) (there are many others) for me is more satisfying than, for example, The Americans – there, I said it!
It feels like I’ve made huge progress over the last year, mostly thanks to the other people out there that I’m learning from on a daily basis – and I’m loving every minute!
“With a painting, you’re taking basic building blocks and making something that’s more complex than what you started with. It is a synthetic process. A photograph does the opposite: It takes the world, and puts an order on it, simplifies it.” – Stephen Shore
In this project I chose to highlight the different colors, as these are the styles of this country. I tried not to isolate them from the rest, because I wanted it to be clearly visible the frame of the human aspect in this country: the nature. It is always present, in the form of reflection too. (photo 4) It is an element overshadowed in these photos, but important to represent this place.
The frontal and rigid shots, are softened by the lines of the trees, that are opposed to the straight lines and the colored blocks of the urbanism.
The idea for the project came to me in August 2013; standing on the balcony of my hotel at Jumeirah Beach Resort, I noticed graffiti on a wall which read: “New World Boredom”; With this in mind I started to photograph around Dubai.
The work has progressed and evolved on two subsequent visits to the UAE, with locations including, Dubai, Sharjah, Ras Al Khaimah and Oman. In RAK in July and October 2014 I realized that the notion of ‘boredom’ was redundant and didn’t apply to the recent photographs. What I was now capturing had become an exploration into the vastness of social landscapes, rapid urban development and the traces of humanity discovered in such places.
I’m looking forward to escaping the Cumbrian Winter as the project continues with a fourth visit to the Emirates in February 2015. I love the light and the process of shooting images in such heat and isolation is arduous, liberating and uplifting in equal measure. To me these photographs suggest that there is hope in the incredible emptiness of it all.
I like to photograph the ordinary. I am from England and I’m 41 years old.
My main influences are William Eggleston, Diane Arbus, Stephan Shore and Martin Parr.
I try and take a camera with me all the time and photograph anything that interests me. I don’t go out for the sole reason to take photos very often as I don’t have the time.
I’ve been shooting seriously for about 8 years now but I’ve had an interest in photography since I was about 13yrs old.
I’m not really sure what draws me to photography and I don’t have any distinct goals. But I’m always surprised how rich a subject matter it is, there are photographs waiting to be taken around every corner. Maybe that’s what I like about it? There’s instant art everywhere! I’ve never studied photography, I don’t think I would enjoy it if was something I ‘had’ to do.
I know the city of Manchester well having been brought up nearby and in later life, working in the city centre on several occasions. So, I have always had an awareness of what I regard as Manchester’s true backstreets – streets named “Back #€*@$+% Street”.
In the 1980s there were almost thirty such streets in the City centre. Now just twelve remain, the others demolished during the city’s regeneration.
Located in the commercial centre of the city, these backstreets are within yards of thriving thoroughfares. Yet they can be deserted, dark, dirty, ugly and cluttered with litter, rubbish and waste bins. They are, however, functional and utilitarian, providing essential service access to the rear of often grand buildings and businesses.
With their origins in the 19th century they now reflect 21st century life and I have set out to show how their current use interfaces with their historic origins before more disappear.
Photography is a tool for me to create something that´s according to my own understanding of visual esthetic. Keeping it simple and free from distractions is always a goal to get a balanced shot which is easy on the eye. Hope you enjoy it.
Florian, based in Nuremberg, Germany.