stood on the steps above the Damascus Gate, Old Jerusalem. A thousand personal images. So many people I
wanted to photograph. Palestinian. Jewish.
Bedouin. Arab. Israeli. European. But I
was nineteen and did not have an adult camera.
sat at a table in a pavement café deep in the souk of Marrakesh, my camera
concealed. Veiled women. Men in flowing djellabas. But the photos were rubbish.
The objects (for that, in reality, is how I viewed them) rushed by. They (rightly) guarded their own images.
There was no consent. There was no
contact. No relationship. It was wrong.
interrogated my heroes. Kertesz, who taught me light and composition.
Cartier-Bresson, who showed me culture and context. McCurry, who portrays beauty with great
power. McCullin, stark and brutal. Hockney, who sees and records what I fail to
see. And, above all, Nan Goldin who
opened up her life, shared her tragedy and showed me how to photograph people.
travelled. I saw. I listened. Magazines published
my travel writing. I researched and
wrote English Roots: a family history,
published by Alan Sutton. And I
photographed the people I met. I curated
a permanent exhibition of my portraits one
world one view, ascending the central circular staircase at Harrow Crown
Court. The photographs reflected the
diversity of the court users. It
exhibited at the Jam Factory, Oxford. I
published it as a book. One hundred
photos of people from thirty countries, reflecting how much our species has in
common. (And the exhibition and the book
raised over £25,000 for charity.)
was a human rights solicitor. I was a
judge. I wrote legal text books. I published learned legal articles. The law was a framework and an intellectual
challenge. But it was always the people,
the clients, the witnesses, the criminal defendants who were vital.
the heat and dust, I knelt down on the streets of Dhaka. I sat in mosques. I
hung out with rickshaw drivers. I walked muddy lanes and river banks in
Sylhet. I talked with tea pickers and
women in niqabs. Over one hundred street
photographs. People in context, going
about their everyday lives. Faces of Bangladesh was shown as a slide
show in the BP Lecture Theatre at the British Museum. It exhibited for a month at the Swiss Cottage
walked through villages in the Omo Valley, in remote Southern Ethiopia. I sat in mud huts and under trees with a
local guide and local people. They told
me about their lives. And I took
photographs. Striking photos, but the
life stories were even more captivating.
development of my practice has been individual, even isolated, in the sense
that I have not been part of the wider photographic community. I have a vision as to where I want to take my
practice, photographing Londoners in context, going about their lives. I want to share and collaborate. I want to be
challenged. I want to question and be
questioned. I want to explore new
media. I want to experiment and to
expand my thinking. So, I have now enrolled on an M.A. in Photojournalism
and Documentary Photography at the University of the Arts London (London
College of Communication), collaborating with a wonderfully talented group of
fellow photographers with very diverse backgrounds and experience.
Details of Photographic Exhibitions
one world one
view Harrow Crown Court from 2005 (permanent)
one world one
view The Jam Factory, Oxford 2006
Bangladesh British Museum, London 2011
Burmese Portraits Stars of Burma, Bloomsbury Theatre 2011
Bangladesh Swiss Cottage Gallery 2012
one world one view was published as a book in 2007.
have appeared in publications across the world, from International Travel and
Tourism News to the Pamir Times to the Utah Adventure Journal.