Berlin © Tony Cearns


I spend most of my time looking for a certain quality of light in quiet, forgotten places, attracted as I am to the ‘everyday’, the passing of time and the pleasures of walking. I am taken with places of little consequence where light and its registration cause the holding of a breath.

It is depth rather than breadth that really counts

A few thanks are in order.

Firstly I have much to thank Andrew Sanderson, my darkroom printing teacher, who more than anyone is showing me the full potential of what a print can be. It’s not so much about the exactitude of technique, although this is important, but rather the response that it evokes.

I have fond memories of André Goulancourt at Inversnaid Photography Centre (the centre is alas no more) in the 1990s on the banks of Loch Lomond. André was the first person to show me what a fine print could be.

Tillman Crane has been important to my development. I came across Tillman’s name in 2001 at Inversnaid and after writing to him, he sent me, unprompted, his unpublished darkroom manual, which I scoured. In 2018 I attended his workshop in North Dakota. Tillman’s eye for light and composition is what I try to learn from him. As a platinum atelier his work is profound.

I also want to thank my friend Knut Skjærven, the Norwegian blogger and phenomenologist, for showing me some of the subtleties behind street photography. Street photography is one of the hardest photographic genres to master, and although I would not call myself a street photographer, I believe good street photography has much to teach other genres in terms of awareness and timing.

My photographs are loosely categorised into subject matter ‘projects’ for ease of reference, and indexed by technique.

My blog on film and traditional photography can be found here.