Growing up in the 1980s, I was obsessed with music. My bedroom walls were covered with moody, atmospheric, black-and-white photographs of my favourite bands shot by Anton Corbijn, Kevin Cummins, and Sir Don McCullin. Dad was a keen amateur photographer who would spend weekends in his darkroom just off the kitchen. Sunday mornings and our house would be a heady mix of roast beef cooking in the oven, and fixer. Through dad's prints and my bedroom walls, I made a subconscious connection to black-and-white photography. 


A few years later, I became a photographer. As part of my education, I enrolled on a part-time photography course in Leicester. My tutors introduced me to the work of Henri Cartier-Bresson, Don McCullin, Chris Killip, Raymond Moore, and Bill Brandt. That started a love affair with black-and-white documentary photography which has continued to this day.


I spent hours in the darkroom learning to print. Grain and contrast became my means of self-expression. My first commercial pictures were all black-and-white, as were my portraits and personal work. When I began to shoot weddings seriously in the mid 1990s, it was my love of black-and-white documentary photography that set me apart from the competition.

In 2004, I started to shoot with a digital camera and began the whole process of learning how to process and print black-and-white images from pixels. In 2008, I joined Canon's Ambassador program and my digital monochrome work was part of an Ambassador group exhibit at The Getty Image Gallery in London.


Today, my work covers different genres. I shoot weddings, along with street, landscape and documentary work. Each genre of photography is connected by my passion for monochrome. Black-and-white has been my obsession for thirty years, and I am sure it will be for another thirty.

 

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