Increasingly unusual in the 21st century, Glyn is still shooting the majority of his images on film ! He has borrowed Jean’s Canon 5D on a couple of holidays but to date the files have got no further than his hard disk. Sitting in front of a computer screen to make his images fills Glyn with horror, so for now that is where we’re at.

His love of b&w goes right back to his earliest snaps. These days many of his images are recorded on Fuji Neopan 1600 and many are shot on a 1986 Leica M6 rangefinder.

Prints are still made in a traditional wet darkroom - mostly on Kentmere papers (now part of the Harman group). Those on fibre-based papers tend to be toned in selenium or gold.

His colour work undertook a major shift in March 2013 following a visit to the Kunst Haus, Wien (Vienna) to see an exhibition of Saul Leiter’s work. Truly inspirational. Glyn purchased three rolls of Lomography 400 ISO print film and shot all of them over an hour and a half on the streets of Vienna with his Lomo Fisheye 2.

The Lomo came in to his life in September 2009 to shoot his ‘hernia pics’. We were booked to judge the Tallaght Salon in the company of the delightful Gabriel Joseph O’Shaughnessy before a hernia was diagnosed. The operation was fine but the consultant said, “you can’t carry anything heavier than a kettle for 6 weeks” ! Not surprisingly that ruled out the camera bag. Returning home after the op we found the new issue of “Black & White Photography” waiting for us on the doormat which featured a test of the Lomo Fisheye. At 230gms that seemed the perfect solution.

Subject matter is wide-ranging, but long time favourites include urban landscapes, portraiture and figure studies in the studio, and the type of travel picture which often ends up in the Photo Travel section of exhibitions all around the world.

Glyn has always had a fascination to produce with the camera something which is not visible to the naked eye. This may be as simple as using a very wide aperture to restrict sharp focus to a small area of the image. Alternatives cover camera movement whilst the shutter is open, or lengthy exposures to produce a feeling of movement.