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Instant film is a window to something familiar but strange; the everyday and familiar objects frozen with a timelessness and odd nostalgia.

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I enjoy using camera phones - they are our modern polaroid, grabbing moment after moment stored in our pocket. They also can interpret light like old DV video cameras used to do, with confusion and sometimes surprising results. The digital images have this kind of uncaring flatness which gives an alternative to a complex intelligent camera, without frills but operating with honesty. But it's the modern equivalent of Polaroid, camera phones in your pocket and the re-emergence of physical instant film that grabs me and I use frequently. Yearning for the inside of the image to be inside out.


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​It isn't that I don't appreciate the crisp definition and control of a DSLR camera, as you can see below - but every format can see differently and excels in varied scenarios.


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35mm and 135film greatly interest me too, although I've only dipped my toe into the prospects of theses every so often.


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I used 135film for my film Lost In The Nameless City to capture London streets, combined with HD monochrome video. Naively I searched for new ways to see and observe London, an infinitely photographed city. I shot large models of the city I found and also manipulated cityscapes filmed from high rooftops.


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Check out my debut book The Light That's Lost, the first in the Candlelight Flavoured Bubblegum series and coming in June: Strange Space.


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