ABSTRACT INTERPRETATIONS
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of my images, sometimes combining both in-camera or in post production. For me, effective use of colour is crucial in creating successful abstract images. In my work, I use colour to create mood and atmosphere. When shooting at the Coast, there is an abundance of colour to take advantage of - in the sky,
the sand or the way the ocean interacts with light. Golden hour colours are spectacular, but so are winter storms! The City, and urban environments come to life at night, or they did before 2020! Shop windows, bars and neon signs create endless opportunities for making abstract images.
Fathom 1
E
ver since I discovered the work of Doug Chinnery, Valda Bailey and Joshua K Jackson, I knew that I wanted to express the way I see the world in an abstract way. I often find that I have a far stronger emotional connection to the abstract images that I make, and also to those made by other photographers. I love abstraction in photography, as for me, it is one of the key techniques that can be used to create mood, mystery and beauty in our images. The ability of abstraction to challenge the viewer to make sense of what they are seeing, or to find their own interpretations and connections with an image is something that greatly appeals to me. The locations I like to photograph are all distinctly different - the coast, the city, or exotic leaves and plants at botanical gardens - but I believe the techniques used to create them ties my different portfolios of work together. I use Intentional Camera Movement and Multiple Exposure to create the majority
Fathom 3
MARK CORNICK ARPS
CREATIVE EYE GROUP MAGAZINE NO. 84 JANUARY 2021
