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I know this sounds like a sponsored advert but I love Snapseed. It’s a great photo app I have on my iPhone. It’s got more controls than Instagram and is really easy to use. I like it much more than Adobe Photoshop’s app which is great news as I have a real problem with Adobe. In my experience they have the worst customer service I’ve ever encountered and any competition that threatens to break their stranglehold on the market of digital image manipulation is good news. Above is a picture I took through the window of a plane over NYC last week and worked on with Snapseed. Below is the original picture.
On Friday, someone who’d looked up my blog asked me why I stopped being a professional photographer and ended up a television producer. I’ve been asked that question many times and it always seems loaded, like there is a judgment in the question. My offpat answer has always been that I got lonely as a snapper in the Highlands and Islands.
Inspired by the question, I picked these pictures to illustrate the idea of my romantic isolation and then realized that apart from the canal picture, the other two are actually collaborations. The picture of Malcy Maclean on the beach was a joint project with his national Gaelic arts project in the 80′s. We made a series of posters attempting to highlight the perilous state of the Gaelic language at that time in Scotland.
The images of the Burka clad women in Kabul Market was taken for another collaboration. This time with writer Henry Naylor, when we produced a play called ‘Finding Bin Laden‘ (starring Nina Conti and Dave Lamb, now better known as Mr Come Dine With Me) at the Edinburgh Festival to draw attention to the conspiracy between the military and the media in Afghanistan in 2003.
So it seems that even as a photographer I’ve been drawn to working with others to create images and longer-form narratives. Looking back, the move into television – the business, the teams, the way moving images and words come together in scenes, shows and series – was inevitable but there is nagging doubt that I have betrayed a true love.
Lifting my head and looking around me, the buzz of work has gone and I see art on every wall. Whether it’s tagging on the village streets, Picasso’s and Cezanne’s paintings or photo exhibitions galore, I’m electrified and inspired by how others see the world.
This year is the 40th anniversary of the Recontres de la Photographie d’Arles – a major photographic event by any reckoning. Many great photographers have shown their pictures here. We braved the 40°C heat long enough to view just a few of the 60 exhibitions, but three bodies of work really struck me.
Without Sanctuary is a shamefully banal series of postcards taken and published by Southern photographers of lynched African Americans. The collection is from the Centre for Civil and Human Rights in Atlanta and shows just what an incredible leap forward has been made with the election of Barak Obama.
Eugene Richards‘ haunting images of deserted houses in America’s Mid West were shot just before ‘the crash’ and remind me of McCarthy’s ‘The Road’. Willy Ronis, is one of France’s great humanist photographers. He’s nearly a hundred years old and his work glows with life, wisdom and dignity.
Since starting my blog, I’ve been forced to reassess why I continue to take pictures and publish them. It’s years since I earned my living as a photographer, so why bother?
Seeing these walls around me, I’m inspired by insight and commitment. Looking at my blog afresh I realise I am enthralled. Photography is still my first language and my love. For better or for worse I have an passion for people, a desire for them to understand the world the way I see it, and the need for a wall to hang my pictures on.