Typically the photographic image is seen as a direct description of reality not a representation of it. In practice of course the photographer has always selected from the world and the photographic image, defined as much by what is outside the frame as by what is included, is inevitably only an approximation of the real world it purports to capture.

Once this is accepted the photographer is freed from the tyranny of literal representation. If the apparent parallels between the image as captured and the world in front of the lens had not distracted us, this would have been obvious anyway, as photographers explored the use of differential focus, out of focus or otherwise distorted images, solarisation and grain. Some, like Man Ray or Angus McBean, pushed the boundaries to the limits but all of these techniques met some hostility from ‘traditionalists' before being absorbed and accepted as a part of the aesthetic of photography.

Digital technologies now offer new opportunities and new ways of seeing the world. With a new and rapidly developing medium, there is no recognised aesthetic response to the characteristic feel of the digital image and it is exploring this aspect that most interests me. I do make physical prints at various sizes, but I refuse to artificially limit the editions. The essence of any photographic work is its repeatability and this applies even more emphatically with digital images, the computer storing without error what would have been a myriad of darkroom decisions.

I have now begun working in more traditional media - painting and printmaking in particular, but I also make collage and other mixed media. I am especially fond of collagraph and monoprinting.