I'm a fine-art photographer based in Dorset, England.
Because the camera is an everyday tool, fine art photography is not as easily defined as painting. It needs to be more than a frozen moment caught in a frame and has to attempt to express the photographers perceptions and emotions and share them with the viewer.
I approach my image making hoping to do this but do still aim to make simple images. As a photographer I can't start with a blank canvas like a painter, but a world of possibilities that need to be 'cropped' out in some way to distil what is important to me in an image.
I photograph in monochrome because colour has far too much reality as I hope that the viewer will try and complete 'the story' within the image.
It is important for the photographer to be fully engaged with the subject and as most of my work is landscape I try to spend quite a lot of time getting a feeling for what resonates with me, often returning to a location many times.
A beautifully made print is the best way to view a photographic image and the print size should be related to the viewing distance and think smaller more intimate photographic prints work better in most situations.
I shoot usually on film but print using a special monochrome converted digital printer.
My archival prints are in Limited Editions of 30 made on Huhnemuhle paper using Piezography inks and mounted with non-reflective Art Glass. Each 23x23cm print is mounted in a 40 x 50cm black frame and is pencil-signed and editioned ‘in recto’ and are studio-stamped on the back before framing.
I started photographing as a teenager when living in Singapore. I was able to photograph the aircraft that were based at, or visited the RAF station we lived at, however I soon got frustrated with the poor results I was getting. This was because of the sub-standard processing my negatives received and my father encouraged me to start developing and printing at home. My photography continued when I began working in television sound, a career which started at Anglia TV in 1966. However through my years in the 70's at London Weekend Television and at the independent studio Limehouse in the early '80s, my work and family life had to take precedence so I stopped serious photography.
I entered a period of freelance TV mixing in the mid 1980's and then ran my own TV sound post production suite from 1996 until 2010. After my children left home I returned to photography with a digital camera but the real thrill of photography was finally rejuvenated by returning to using a Hasselblad film camera. It feels like 'picture making' again and not using a computer.
My greatest influence would be Michael Kenna. He photographs at the times of day, or more often night, when other photographers put their cameras away and I find the simple beauty of his 'minimal' images very compelling. Photography is about 'what you leave out'.
Over the last few years I have delved back into my old negatives and am now printing them again along with my newer ones.
Michael Kenna www.michaelkenna.com