‘the visual, the exotic, the carnival, the circus or serious, worthy subjects like mental hospitals or the homeless, my response is to try and create photographs that depict daily life, all to often nostalgia becomes a barrier preventing photographers from really documenting contemporary Britain, you know the sort of thing; the dirty old factory about to close, or perhaps the heberdian crofter, subjects of traditional value which are gradually being eroded, I’ve fallen for nostalgia in the, seduced by that sense of tradition and community I felt lacking in my home counties upbringing, I made a photographers pilgrimage to a traditional mill-working town near Hebden Bridge in the 1970s, but I could never become what I was photographing because my profession always rendered me an outsider… but I was now convinced that black and white photography was inherently nostalgic and detached, it couldn’t tell you what it was like to be somewhere.
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‘the visual, the exotic, the carnival, the circus or serious, worthy subjects like mental hospitals or the homeless, my response is to try and create photographs that depict daily life, all to often nostalgia becomes a barrier preventing photographers from really documenting contemporary Britain, you know the sort of thing; the dirty old factory about to close, or perhaps the heberdian crofter, subjects of traditional value which are gradually being eroded, I’ve fallen for nostalgia in the, seduced by that sense of tradition and community I felt lacking in my home counties upbringing, I made a photographers pilgrimage to a traditional mill-working town near Hebden Bridge in the 1970s, but I could never become what I was photographing because my profession always rendered me an outsider… but I was now convinced that black and white photography was inherently nostalgic and detached, it couldn’t tell you what it was like to be somewhere.