An ongoing series of remixed street photographic fiction.

Getting things ‘right in camera’ as so many photography books, magazines, websites, writers and ‘experts’ advise you to do, is not an option for me. I have therefore embraced these limitations and devised a new workflow technique.

As a visually impaired photographer I find that capturing moments as they happen is a difficult and often physically uncomfortable process.  I am blind in one eye, and have Aphakia and Mydriasis in the other (no lens, damage to the iris and retina and a permanently dilated pupil) which means that I have a high sensitivity to light. Attempting to hold an iPhone and pocket magnifier whilst trying to capture scenes as they unfold in front of me is an ongoing technical challenge. I am constantly catching glimpses and fragments of passing events in the field of my limited peripheral vision. Did it actually happen? Was it just a shadow, a reflection on a window or a trick of the light?  Another issue with my sight is the occurrence of 'after image' (where a partial image or shape in bright light stays in my visual field for longer than it should, this is in addition to the permanent visual ‘noise’ that floats across my eyes like static from a dead channel on a Cathode TV screen)or grain on a VHS tape.

I have a background in the independent music industry and remix and cut–up culture has always intrigued me with the practice of extending grooves, adding samples and disparate elements to create new works. I have taken this approach into my own visual work, I curate imagery from sections of the various scenes and passing moments that I capture and combine these with selected post processed edits from found photographs that have resonated with me on a composition or graphic level, and create new stories, new narratives that were not originally there. I feel that what I am constructing digitally is equal parts chance and intention where the story the image is telling suggests new paths to take as I add the disparate elements.

I have chosen to approach the work as a Black and White series as I feel that colour would be too distracting and can often ’date’ the image. I am drawn to the textures, moods, tones and timelessness that monochrome work allows.

Further to this I have also decided to create the images in the square format as a nod to the photography and design of the 12” and 7” record sleeves that were my introduction to these worlds as I was growing up.