Inside this issue
Professional landscape photographer based in Dumfries and Galloway, Scotland.
Ted has been exploring the beauty of the natural world and man’s interactions therein for some 35 years, focussing his work ever more towards issues surrounding climate change. Ted’s career started in London as a commercial photographer at the end of which he became the photographer on an Operation Raleigh expedition to Patagonia. Disillusioned with commercial photography and city life he put his camera down for 12 years and cofounded a renewable energy consultancy as he became increasingly conscious of man’s contribution to climate change and felt a need to proactively contribute. He returned to photography in 2004 with a focus on the outdoors and landscape, where with his wife Morag they were early protagonists of the “Impressionist” (ICM) technique.
More recently his practice has focussed increasingly towards concept based environmental projects including “Zero Footprint” - a 5 year project with every image taken from the same location, “Pollphaill” - a village and oil fabrication yard constructed for 500 people but never used and finally demolished in 2017 and “ENERGISE“ - exploring themes around energy and climate change. He also undertakes immersive low impact photographic explorations by bike or walking, including a 440km solo trek across the Maritime Alps and a 2850km cycle from the Black Sea to the source of the Danube
The Zero Footprint project, explained in a nutshell, is a series of landscape photographs captured from one single location over a period of five years, and counting. The restriction is purely geographical – roughly one square metre of the patio outside our kitchen, we could use any camera and lens combination and had the entire (not insubstantial) vista as a palette. The one other stipulation was that each image should be aesthetically pleasing in it’s own right, as well as forming part of a coherent portfolio of work.
While the outlook from the house itself is spectacular, we quickly found the view alone doesn’t easily lend itself to traditionally pleasing photographs, - even in what would normally be considered “good” light, partly due to a lack of foreground, the sheer distance to the horizon also resulting in a tendency towards flat images. Initial explorations and experiments with varying degrees of success led us to the conclusion that we would have to allow the weather and atmospheric conditions to inform compositions by shaping and framing the landscape, often using low cloud and - more frequently – the mists and fogs that form along the river valley and loch system.
Joe Cornish Gallery, Northallerton 27th September from 2pm with a talk at 3pm
Country Buildings, Wigtown Book Festival, Wigtown 28th September 4pm
Beyond Words, Edinburgh date tbc
Email or phone for more information:
firstname.lastname@example.org or 01644 430 004