Personal Projects

Welcome to my Personal Projects Section

As a full-time professional photographer the majority of my life is taken up shooting for clients and providing them with their individual photographic needs according to their brief. This in turn makes it difficult to concentrate on personal non -profit making projects, or in-fact finding time to to actually shoot at a personal level at all.

Luckily my wife and I love to travel and this provides excellent opportunities to practice new skills. In particular Documentary and Street Photography are one of my favourite genres. Below is a very short history on Street Photography. I do hope that you enjoy browsing the Travel and Street Photography Floral & Fine Art Galleries.

Street Photography - A Little History
Street Photography – Social Photography is a genre of Documentary Photography that does not have a subject or story other than that of public life in general. By definition Street Photography images are then candid by nature. Street Photography should not include the photographer’s intervention or direction to capture the scene.

In the 1930’s, photographers like Henri Cartier Bresson, Robert Doisneau and Andre Kertesz developed the candid observational style of photography in public places that much later became known as Street Photography.
Although Street Photography as a genre is mentioned much earlier, the invention of the first Leica Rangefinder camera around 1914 changed this style of photography forever. By placing the newly invented film role instead of sheet type film into a compact camera, allowed the photographer to capture candid moment quickly and easier.

In World War II Documentary Photographers captured historical moments such as the D-Day landings using the Leica Rangefinder camera

In the 1950’s Street Photography appeared again and in 1958 Swiss photographer Robert Frank travelled across America (funded by the Guggenheim fellowship) to document a post-war view of America. Contrary to the earlier whimsical playful and comedic style of Bresson, Kertesz and Doisneau, Frank’s photos were contradictory and revealing, whilst documenting tensions on the post-war streets at the time.