One day in 2012, I fell in love with Fuji
My journey in photography began in the late 1950’s with a Kodak box Brownie, and in the next 50/60 years encompassed just about every make and type of camera.
I photographed cars, planes, trains, musicians and cakes for money and fun, I traveled in Europe for travel companies and shot fashion in Paris and photographed Queen Elizabeth in her Silver Jubilee review of the Royal Air Force.
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I changed from film to digital in 2005/6, sadly saying goodbye to my XPan.
I was still undertaking commercial work using Sony A900s and Zeiss lenses.
In 2011 I was invited to visit a gypsy cave at Easter owned by a famous flamenco singer, I did not want to use flash and excitedly read the specifications for the Fujifilm X100 and the high ISO attracted me.
I bought the first X100 in the UK and loved the camera from day one.
It was a learning curve which required me being weaned of my Leica M8, which was awful.
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The event I bought the camera for never happened, but I was starting to use the X100 more and more.
In May 2012 I decided to go to see the processions for Rocio which is a pilgrimage across Andalucia, I took an A900 fitted with a Zeiss 135 F 1.8 and on the oposite end of the scale (literally) I took the X100.
When I started to process the images, suddenly I had a eureka moment, and one image in particular just sold me, and it was going to be a lifelong relationship with Fuji.
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Included are two images from the Sony A900 of mobile use, which is now part of life, and the rest are the images taken with the X100, a shot from La Albayzín of the Generalife gardens in La Alhambra, a shot of the last lavedera (washing place) in Granada and 3 images from the day of the Rocio procession 2 converted to black and white.
The shot with the two women with the street receding behind, which is pseudo infrared is the image which pressed the button, I cannot explain why there is just something magical for me in the image.
I sold my Sony equipment, and I am now totally Fuji. Faults they have but so have every other make, but the DNA under the skin is pure photography.
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I am a lazy photographer these days, having spent years using light meters and flash meters, calculating exposure and pre-visualising the final images then spending hours in smelly dark rooms processing.
Now I put my trust in Fuji, Apple and Adobe.
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These days influenced by James Ravilious who spent the later years in his life recording life in a Devon village and creating the Bee archive which will live forever, I am constructing an archive for my village which initially would be digital but eventually will become a book and an exhibition.
www.concharchivo.com
My other site, which contains work from my whole life is…
www.vision22.me
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“I was born in the UK and worked as a graphic designer and photographer for most of my life and I feel privileged to have been doing what I love throughout my life and been paid for the pleasure.
I started to take photographs with a Box Brownie at the age of 7 or 8 years old, but the big revelation came when I was 10 and I watched my cousin develop a black and white print using a home made enlarger, ‘that was it, I was hooked’.
The next momentous photographic event came on top of a mountain in Switzerland at the age of 13 when I suddenly thought how do I capture the whole scene. ‘I suddenly knew!’ if I took a series of photographs with my Kodak 127 then join the prints later that should work. It did! 50 years later I am still making panoramic photographs but now digitally though I do occasionally miss the Xpan panoramic camera which stands out among the mass of 5 x 4, roll film, 35mm cameras I have used over the years.
I have shot fashion, cars, musicians, products, hung out of helicopters, photographed air to air and covered the Silver jubilee of the British Queen, but I now work solely on my personal projects.”