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 been given 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.

But I'll do none of that.  I’ll simply let my work supply the narrative.