[avatar user=”stevew” /]
Steve Welsh began general practise freelance work in the early 1980s and built a client list which included local authorities, Wessex Water, stage and theatre PR and event work and the Courtaulds Group where he worked on the companies in-house newspaper. This experience was combined with a personal interest in the automotive sector, especially historic racing and the classic car arena within which he has now worked as photojournalist covering national and international events for a range of publications worldwide since the mid 1980s. His work has also appeared in a number of books from respected motoring historians such as David Venables and Karl Ludvigsen. In tandem he became involved in education as an associate lecturer teaching and delivering workshops in photography and media at schools and colleges in the South West of England where he is based. During the 2000s his work extended into film production with promo films for amounst others the Historic Motor Sport Show, now known as Race Retro, and a social documentary project in South Africa.
A lifetime interest in documentary and fine art photography has more recently led to the pursuit of non-motoring projects with the goal of exhibiting and publishing work that is narrative led. He remains passionate and obsessed with all art forms, especially photography, and is a founder member of Exposure47.
I have to make pictures; there is no choice in the matter. I realise that I consider the world in retrospect through my images, I look for the ties that bind life, sequences, ideas and concepts together; they appear on my contact sheets; sometimes my visual subconscious has been at work. There is something of the William Egglestone in this modus operandi. What creates a premonition in my mind to release the shutter I don’t know, but I have come to respect and accept this subliminal judgement. I have no set parameters when it comes to physical process, my interrogation of the world could be on any format, it is my choice of best medium and material to further enhance personal interpretation and communication. However I find I am drawn to the physicality and archival nature of analogue methods, I also enjoy the opportunity delivered by combination and amalgamation of this and digital. Overall I am driven by narrative, single or sequence image, inspired by visual storytellers such as Elliot Erwit. The image is all and photograph is my artefact.
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