I have been a professional photographer for over 50 years, throughout my career I've embraced both a contemporary and traditional approach to my work. My commercial photography has consisted principally of photographing people, within the fields of fashion, advertising and portraiture. My career has spanned three continents, having had studios in London New York and Tokyo. My philosophy towards photography has always been based on my simple belief that a photograph can be taken in one of two basic ways…  A photograph can either be "created" or "recorded". The difference being, that in photojournalistic or similar genres of photography, the image must be the ‘recording’ of events happening within the cameras' field of view’, without any intervention by the photographer… Purely a case of situation, composition and timing. Although I have on occasion ‘recorded’ many photographs in this way, my personal preference has always been to ‘create’ photographs. Having control over all the elements contained within my composition of the photograph, regardless of whether my subject matter is a live person or an object. I rely heavily on direction of the subject, similar to the way a  movie director works. ) And of course lighting is of paramount importance. I have always preferring to work in a studio or controlled environment. Basically an empty canvas that I can fill.

My approach to a contemporary style of photography has always been based on the principle that a photograph is only an “illusion” of three dimensions. Look at it from the side and it is simply a flat piece of paper. I have trained my eyes and mind to “selectively” perceive the things I see through the lens in ‘two dimensions’, enabling me to see objects for the form they take, as opposed to what I know them to be. Effectively this reduces everything to abstract-form, and into what becomes a series of straight lines and curves with gradating boundaries, which is ultimately what everything becomes in a two-dimensional photograph. This for me, is the essence of composing and framing photographs. In addition, I tend to work close-up, using a short depth of field. The result being, (hopefully) a pleasing abstract-composition, an image of an existing real life object, person or scene, in the style that might be considered similar to that of “super-realist” painting.