All artists need nurture and one of the best ways to find it is to press the accelerator and keep taking images.Photographers, like architects and wine, tend to improve with age - funny about that. As long as the fire remains, the experienced eye can distill the moment or object in a way that isn't always captured by the exuberant bloom of youth. Commissioned commercial work underpins much of our gallery shooting. Does this commercial context make us lesser photographers, or artists? I'd argue not. Commercial photography such as our work for Viridian's Vision magazine continually tests us to go beyond the real estate image.
Bringing abstract elements into, or out of, focus can produce fresh insights and perspectives.
Our latest issue of Vision is out on: http://joom.ag/KRfX
If nothing else our lives can benefit from diversity rather than being grooved into a certain niche. Exceed expectations and don't be defined by the attitudes of others. Prototype not stereotype.
Edvard Munch's 'The Scream' is one of the world's most recognisable paintings. The eerie orange sky of Munch's 1893 painting was apparently influenced by the volcanic eruption of Krakatoa in 1883 in the Indonesian archipelago. By all accounts Munch was profoundly influenced by such far-reaching phenomena despite being a half a world away.
My own small tribute to Munch's 'The Scream' can be found on our gallery under Abstract and Automotive.
Call it anthropomorphic art, call it a car's bum, call it a 1950's Cadillac tail-light and bumper assembly. Call it how you see it. We call it The Scream.