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this business of photography that were
in or world of photography that we're in
as we've said has changed so incredibly
hasn't it in their almost 40 years that
we've been involved in it I don't know
which way it's going I can only guess
really what do you think how is it all
going well thank you it it'll keep going
that's for sure the technology it's a
technological industry and technology
has has been energy and a driver and
evil and the evolution that technology
is what's really one of the really
exciting things about photography as you
know we know it's very distracting all
the tech technology from the art of of
image making but at the same time it
enables us to doesn't it you know that
we've we've reflected on how how
enabling a very high resolution and and
high sensitivity sensor is for example
compared to to shooting film and new
pictures that can be made pictures at
night you know pictures of wildlife that
were previously impossible and at the
same time I sold landscape guys want to
slowed the sensors down so we can get
more movement as well you know whether
its water or trees blowing or leaves or
anything so so there's still I think
more communication between photographers
and and the industry itself would be
frankly would be a good thing I do think
that the phone represents an existential
threat to to photography in one way but
I also believe that the industry will
find a way of writing above that I think
that that thought you know there you go
the way the phone which is essentially
just a small computer is used along with
social media makes photography such a
the lifespan of a photograph so brief
these days doesn't it really it's a case
for most people it's a case of shoot a
picture get it up on social media and a
week from now it's
a garden it's gone and that's a huge
change from from how we started I guess
it's just the way it is now it is but I
don't think it has to be that way it is
it is I'm in a great believer in that in
the idea that there's a it's a direct
connection between you know cave
paintings in Alaska in France 40,000
years ago and what we do today you know
that that the still image and the the
marks made on the side of a cave are
related to the impulse to create to
describe to reflect on you know what
we've seen to make that physical
connection you know with with our lives
and the light and what we see outside
and and that's I think that that will
continue what what but I think what
you're saying that that needs to be
addressed is can you make images that
have enough staying power to want to
make you keep looking at them because
the essence of the still photograph is
the richness mystery and complexity of
it it's different to a film it's
different to a time-lapse it has it has
to have a life and if it's a powerful
picture it will stand the test of time
and I think that the superficiality of
digital media on and then the Internet
is moving in the other direction and
that that's certainly a concern which is
all not the more reason to print more
pictures and then I mean you and I both
love prints we we know that you just
can't beat the tangible quality of
looking at a print can you there's
something special about it undoubtedly I
think the physical physicality of the
print the presence of it the fact you
can hold it in your hand will see on the
wall and it tends to change slightly in
different lighting conditions you may
have forced sort of see it in you you
can hang out with a print you don't do
that with something on screen for me
it's what got a sense of photography in
the first place the print and and I
print I make prints just for the hell of
it just for my own religious faction
it's the final step the consummation
really
it's been a great joke you don't meeting
up for this paint no chat we ought to do
this more often done yet we really
really should do this yeah absolutely
fantastic and what a great place to end
but the consummation of the photograph
has the preen I think that sir Wow well
done keep exposing right she's delicious
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you
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