Europort – The Netherlands September 2013 

I had forgotten I had taken this on a workshop recce to Europort with my Dutch friend Paula Graham who has a fantastic blog here .

We went to The Netherlands to do a workshop reece based on the heavy industry around Europort, one of the biggest if not the biggest port in Europe. It was a highly productive trip but not for industrial photography because it rained so heavily the days we planned to do industrial shots that we could not even get out of the car. It’s still in the back of my mind to do a industrial photography workshop there – let me know if you are interested.

Was this picture like this in the camera? yes and no.

Yes, it has not been cropped so it as taken. No, because my post-processing is the servant of my vision and intent. The raw file is only the starting point in the picture making process not the end.

(c) Andy Beel FRPS 2016












Llyn Dinas Snowdonia October 2015 

Photography is not about photography.

Black and white photography is not about taking pretty colour out.

Black and white photography is principally about directional lighting and the shadows created.

Shadows are the soul of a black and white print.

(c) Andy Beel FRPS 2016






Eggborough Power Station


Eggborough Power Station – South Yorkshire January 2016 

This is one of my favourite shots from the lecture tour of south Yorkshire a few weeks ago. This part of Yorkshire has three power stations – Ferrybridge C, Eggborough and Drax, the future of all three may be in doubt.

Ferrybridge is very enclosed by roads except for long shots from the north so it not that good as a location for industrial photography. Eggborough has good access from all four sides with access to the cooling towers that are next to a B road. Drax is the largest by far and is well fortified with much barbed wire fencing and security cameras. Again long shots are available from the west over flat farm land accessed from Camela Lane.

The feature picture of Eggborough above was taken with an 18mm f2 lens at f2 placing the horizon low in the frame to give a sense scale to the rising steam cloud. The post processing is an inverted variation of my usual split toning – duck egg blue highlights and chocolate brown shadows, the grain / noise was put in with Lightroom amount 50, size 75, roughness 75 so it is see-able on a small image on screen.

(c) Andy Beel FRPS 2016







Yorkshire Lecture Tour


Shipley Canal 18mm f2.0 lens – May 2015

Next week I am doing a lecture tour in south Yorkshire.

I will be visiting the the following clubs with “The digital Monochrome Print” talk, A2 size prints in the first half and a digital “how to” in the second.

  • Monday – Wakefield More
  • Tuesday – Halifax More 
  • Wednesday – Huddersfield More
  • Thursday – Selby More

Come along and say hello if you are in the area.

(c) Andy Beel FRPS 2016









The reasons why – 4



Looking down – Bexhill on Sea 


The reasons why 

Reason 1 

  • To express my emotions and feelings.

Reasons  2 

  •  To present or express ideas and beliefs

Reason 3 

  • To have emotional engagement with the viewer

Reason 4 

  • Because of what I learn about myself when I make pictures

“To define is to destroy, to suggest is create.”
Stephane Mallarme

This quote from the French poet sums up much of what I feel about my approach to my photography. Much conventional photography is about defining the decisive subject, moment etc. For me suggestion is far more interesting as it allows “the viewers share” to quote EH Gombrich. The viewers share is the individual interpretation that brings world view, visual literacy and preferences in to play when looking at a picture.

(c) Andy Beel FRPS 2016





The reasons why -3

The Enforcers

The enforcers – Den Haag 2013 

Reason 1 

  • To express my emotions and feelings.

Reasons  2 

  •  To present or express ideas and beliefs

Reason 3 

  • To have emotional engagement with the viewer

Why is an emotional response for expressive photography preferred?

For me, we humans are truly ourselves at a feeling or emotional level. As a species we respond first with our feelings followed by reasoning and logic.

Firstly to have an emotional engagement with the viewer you must first have a level of contact with subject yourself first. If its not there at the input stage it will not be there at the output.

There are three levels of photographer and viewer response:

Knowing > Thinking > Feeling

1 Knowing the surface look of the subject matter.

2 Knowledge that provides a change of perception and the understanding of the subject and context.

3 A change in awareness and perception that alters your ability to understand the relationships surrounding the subject and the subject matter.

(c) Andy Beel FRPS 2016

















The reasons why – 2

EPV0021 as Smart Object-1 copy

The Simian Mountains – Northern Ethiopia 2006

Why I take and make photographs:

Reason 1 

  • To express my emotions and feelings.

Reasons  2 

  •  To present or express ideas and beliefs

I believe that as photographers and printers we have the opportunity to make our own choices of why, how, what and when we present our work to the viewer.

In the picture above, I choose to amplify the shape of the mountains by removing texture and detail. There are no right and wrong answers only feeling and perception.

I would wholeheartedly encourage you to follow your own individual path of creative expression. Do not listen to those who want to to push you in to making pictures that only look like everybody else’s work. I believe you are a creative individual prove me right.

(c) Andy Beel FRPS 2015










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