Adrian Cowderoy: The photography

Adrian Cowderoy has had periods when he was passionate for photography.

Urban | Commercial | Landscapes | Digital era

Urban photography

The Milton PrincessFrom 1979-1982 Adrian spent 3 years in depressed areas of the east end of London and Stoke-on-Trent. In capturing the scenes on film he used over 200 films, developing and printing the black and white images himself.

Some images were primarily architectural; others were opportunist images of people. Neither satisfied him. His goal was to capture people in their settings, inspired by photographers such as Henri Cartier Bresson.

Examples: Black Hanley. Hanley Indoor Market. Mile End Road, London, 1979.

The pictures did not come from the happy chance snap of a casual photographer. He spent his weekends walking the streets looking for the photogenic places, and the right angle, and where there were charismatic people doing something other than walking. It was rare. He often returned to the same place, hoping for the perfect combination.

Commercial photography

The commercial photography came from necessity. Adrian’s father had a vineyard and new winery in the heart of Sussex. He needed photowork, and so did others in the English wine-making business. And Adrian’s mother bread Pembroke corgis, so he also had to become a competent dog photographer.

That was the limit. The process dampened his creative spirit, and made him determined never to become a professional photographer. Even when he was between jobs his focus was always on writing, not photography.

Landscape photography

Mont St Victoire from the shrineAdrian’s research period was motivated by seeking an environment to be creative. For six years he wrote novels and, in long business trips around Europe, he pursued landscape photography.

Examples: Provence Collection and Scottish Collection.

His kit was a Bronica GS-1 6×7 camera, chosen for the fine detail of its lenses, and for its quality and weight.

His genre of landscape photography was of the “pure form”, typified by the work of people like Brett and Edward Weston, rather than God-like awe of nature in Ansel Adams’s work, or factual record, popular culture, symbolism or pure art.

The digital era

There are no photographs here from the digital era. Adrian’s only recent pictures have been for this website, and for family. He has been too busy writing.