Maybe I’m biased, but I love this image. It kind of happened by accident. I was in Piccadilly Circus attempting to construct a huge picture of the whole place by creating what’s called a photomerge. A photomerge is a series of overlapping smaller images that can be stitched together in the computer to create one really big one. More often than not it’s used to create panoramic photographs and that sort of thing. Anyway, I stood there and took more than 50 overlapping images of the entire circus, harder than it sounds with people milling around in the foreground. I got home, put it all together and was frankly under whelmed (a far too frequent occurrence), but there was one individual image that stood out. One of the photographs inadvertently filled the frame with clouds and a wobbly little figure at the bottom of the frame. I thought that’s it. I went back a week later, the sun was shining and Eros stood out against a deep blue sky. I placed him in the frame almost like an actor on a stage, about to leave, but shooting one more arrow into the audience before he goes.
About this collection
The idea behind this ongoing collection is to depict London’s numerous icons and landmarks, but with a bit of a twist. The challenge I’ve set myself is to approach these subjects, that have literally been photographed millions of times already, and yet still create something different, or just better, than most of what’s gone before. London has so many contradictory qualities, it can be hard to pin down. The balance of old and new, man made and natural, is startling and virtually unique. One or two of the images in this series veer towards the more conventional where that has seemed appropriate, but with the majority I have tried to playfully make use of the many contrasts presented by this city and find the poetry hidden in it’s well photographed surfaces.
In terms of my photographic approach most of these images are the end result of multiple re-shoots. On a practical level that’s often to get the right light or sky, but there is also a strong element of evolution. Often the picture I come home with is not at all the one I set out to get, and I’ve learned to expect and exploit happy accidents. I often create very well thought out ideas before hand but like Chinese whispers they gradually morph from one thing into another over a period of days, weeks or even months. In other words the pictures in this collection, though they may not look it, are the product of a lot of shoe leather. Related to this is the fact that I try to never crop any of my images after the fact, so that what you see in the final print (with very rare exceptions) is what I saw through the viewfinder at the time. As you can imagine this way of working involves shooting a lot of pictures, some only microscopically different to the others, in order to achieve the perfect compositional balance. It’s not an intellectual thing, it’s purely emotional. You know when you’ve got it right when you find yourself doing a little dance next to the printer.
I create all my own prints and spend a lot of time getting them right, making them ‘sing’ if you like. I consider printing to be half of the overall photographic process. It’s a very demanding discipline to master but I think the printing process offers such an amazing opportunity to inject feeling and personality into an image.
For those interested I use an Epson Stylus Pro 3880 printer, which uses Ultra-Chrome K3 inks, onto Epson Premium Semi-gloss paper, which ensures a very high degree of tonal and colour accuracy.