David H. Bebbington
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Perhaps I could introduce myself briefly. I am David H. Bebbington (ABIPP ARPS for what its worth), 56 years old, currently resident in Broadstairs, Kent. UK. I trained as an industrial photographer in the 1960s, although I started in photography in the early 1950s and had a complete darkroom by the time I was 7 or 8, including an enlarger made of an old plate camera and a biscuit tin. In the 60s and 70s, I worked for the British Ministry of Defense (process camera operator), Victoria and Albert Museum (record shots of artworks + press/PR work), and the Botany Department of Imperial College. London (scientific photography, including endless series of diseased plant leaves). On hearing that David Bailey was now making commercials, I felt What chance have I got of making money with stills? and decided to diversify. I spent 2 years as a technical writer for Ilford Limited before leaving the industry to work as a freelance translator/editor/technical journalist, which I still do.
On returning to photography around 10 years ago in order to concentrate on art images , I found initially that I had dropped back into industrial photography" mode, I could still produce technically competent images but they had zero artistic impact. I therefore deliberately worked at deconstructing everything I had ever known or believed about photography with the aim of arriving at an contemporary approach, which I believe I have now achieved, although the journey is far from over. Hopefully, it never will be one of the reasons I practise photography is to give myself surprises and come up with something new, even after 50 years.
I find there is a certain photographic establishment (well-known older photographers and amateur associations) which is sadly backward-looking and has a considerable resistance to change. One of the nicest things anyone has ever said about my images is that they felt I was working without any preconception of what a photograph should look like!
I have been fortunate to become a member of a small group of art photographers called Salon 67 we meet once a month and organize group shows quite often. I am represented by numerous galleries as do many other people, I find sales are slow and few in number!
In a nutshell, what I an trying to do is work in the spirit of Edward Weston, Brett Weston and Minor White but for the 21st century. William Eggleston has also not been without influence on me.
I discovered APUG only a short time ago although I do not have as keen an interest in photochemistry and sensitometry as some members ( so what? Long live diversity!), I would say without reservation that it is the most interesting photography forum that I know by a considerable margin.
Regards,
David
On returning to photography around 10 years ago in order to concentrate on art images , I found initially that I had dropped back into industrial photography" mode, I could still produce technically competent images but they had zero artistic impact. I therefore deliberately worked at deconstructing everything I had ever known or believed about photography with the aim of arriving at an contemporary approach, which I believe I have now achieved, although the journey is far from over. Hopefully, it never will be one of the reasons I practise photography is to give myself surprises and come up with something new, even after 50 years.
I find there is a certain photographic establishment (well-known older photographers and amateur associations) which is sadly backward-looking and has a considerable resistance to change. One of the nicest things anyone has ever said about my images is that they felt I was working without any preconception of what a photograph should look like!
I have been fortunate to become a member of a small group of art photographers called Salon 67 we meet once a month and organize group shows quite often. I am represented by numerous galleries as do many other people, I find sales are slow and few in number!
In a nutshell, what I an trying to do is work in the spirit of Edward Weston, Brett Weston and Minor White but for the 21st century. William Eggleston has also not been without influence on me.
I discovered APUG only a short time ago although I do not have as keen an interest in photochemistry and sensitometry as some members ( so what? Long live diversity!), I would say without reservation that it is the most interesting photography forum that I know by a considerable margin.
Regards,
David
