My photography tends to be opportunistic;
I like to capture images of things which people pass every day but usually ignore or take for granted.

I believe that the best photographs are a way of showing people what is worth looking at. To this end, I constantly try to find angles which reveal an object or situation in a new light. I am also intrigued by the effect of the ‘frame’ (both physical and metaphorical) on our perception of art - and by the camera’s ability to create a frame around any object or situation it is pointed at. 

Over recent years, I’ve also become fascinated by ‘street’ photography, particularly where the camera picks up
on a visual narrative between people - again, the kind of thing we witness every day but rarely actually ‘see’. This is what 
I find so intriguing about photography: though we are swamped with images everywhere we look these days, the camera still has the power to confer status and importance wherever we point it. As Susan Sontag puts it…

“The photographer both loots and preserves, denounces and consecrates.”
I was born in 1953 in Rochdale - a mill town in the north of England. I wish I could say that growing up there provided me with my creative inspiration - but Rochdale is the kind of place that only provides you with the inspiration to get out. Before I did, I received the best education the state could provide in the 1960s - and the kind of dismal qualifications that follow from this. 

A long and chequered career in the music industry culminated with a job as a magazine editor where I began to take much more interest in the visual arts and in particular, photography. It seemed to me that contemporary photographers were helping re-define our entire visual language and had also (finally) started to make their presence felt in the wider art world. 
My own interest in taking photographs began with the development of the first digital cameras which made it possible to take control of the entire photographic process. At last, we were freed from the tyranny of the staff on the Boots’ counter with their little oval stickers telling us our ‘moody’ shots were underexposed... 

But having been immersed in technology for much of my working life, I was determined
to prevent it from taking over the creative process of taking photographs. To this day, I carry as little kit around as possible (not even
a tripod!) and to the dismay of many of my contemporaries, will often leave my camera switched to ‘auto’. I’m quite happy to lose out on technically perfect shots if I can capture images which surprise me - and to achieve that, I feel it’s necessary to surrender a degree
of control.

Working entirely in the digital domain allows me to hand print every one of my images - which I believe this is just as much a part of the creative process as taking the picture itself.
   e: nigelklord@hotmail.commailto:nlord288@btinternet.comshapeimage_10_link_0
     t: +44 7939 600478
    facebook: nigel k lord - photographer