mylandscapes
Art in Sedgefield

As a graphic design student in London, I saw some of William Turner's land and seascapes and was intrigued by by his interpretation of light and the movement of water.
Usually, photography is a medium that freezes a moment in time – but I believe my work extends that moment so that the flow of time can be seen.
Now, after having spent over 30 years as a designer, I have started photographing long-exposure seascapes, mainly at sunrise and sunset - trying to capture the flowing quality of water and time.
My technique imparts a painterly quality to my work, but none of my images have been processed through any “paint effects” software of filters. I prefer printing my work on canvas which complements the effect.As a graphic design student in London, I saw some of William Turner's land and seascapes and was intrigued by by his interpretation of light and the movement of water.
Usually, photography is a medium that freezes a moment in time – but I believe my work extends that moment so that the flow of time can be seen.
Now, after having spent over 30 years as a designer, I have started photographing long-exposure seascapes, mainly at sunrise and sunset - trying to capture the flowing quality of water and time.
My technique imparts a painterly quality to my work, but none of my images have been processed through any “paint effects” software of filters. I prefer printing my work on canvas which complements the effect.

This technique entails moving the camera during exposure resulting in images which have a soft, painterly quality to them. In traditional landscape photography, the scene is carefully composed prior to shooting and the outcome is totally predictable, barring changes in exposure. For me, a large part of the enjoyment of the Intentional Camera Movement process in seascape photography, is the randomness and unpredictability of the end result. Each movement is different, the length of the exposure changes and one can’t really see what you are actually attempting to capture.