Narrative

I could talk in clichés about my underlying ideology: my approach to projects; my motivation, my love of ambient light, big skies, open spaces and tall buildings.
I could list the types of pictures I've taken; of shiny things, squishy things, cold things, hot things, brick things, glass things; things that fly; things that don't, things that float and things that sink, things you can eat and things you really shouldn't.  
I could reel off the video programmes I've written and directed; of important and not so important people, of heroic and not-so-heroic people; of people who talk a lot and of people who don't talk at all; of the fit, the unwell, the injured; of grown-ups, children, teachers and headmasters. 
I could announce that I've worked in Britain and around the world; that I've been on fascinating shoots and that I've been on routine shoots. 
I could say that I've been to posh locations and that I've seen a dive or two; that I've been in submarines, helicopters and warships; that I've shot guns shooting, hotels accommodating and workplaces working; that I've worked with comfortable budgets and got by on a shoestring.
I could add that I've been commissioned by small firms and large conglomerates; that I've worked with experts and novices, with tradesmen and craftsmen, with CEOs and technicians, with clients who know what they want and those who look for direction. 
I could state that I've worked for agencies, architects, technology and communications companies, FTSE companies, armed forces and the MOD; both directly with end clients and agency led projects.
But I'll do none of that.  I’ll simply let my work supply the narrative.
 
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