I worked for many years as a college and university lecturer on computer-aided design and visualisation courses. Then in 2014, I retired and went on a well-earned cruise around the Virgin Islands. Passing a local shop, I saw a camera on offer and decided, I’ve still no idea why, other than it was a bit of a bargain, to buy it. Little did I know, I was taking my first step on a long and fruitful photographic journey.

Although late to photography, (when young I never could quite grasp my dad’s explanations of f-stops), I’ve always thought in visual terms. That might be something to do with my dyslexia – many famous photographers were/are dyslexic: Ansel Adams, David Bailey, Don McCullin. Maybe, I've seen the world as through a lens all my life and never realised it.

Light is all-important. When I see the right light, I know precisely what I want to take even before the camera is to my eye. Then I look for the geometry within that light – those two elements can make a viewer stop and stare at an image, regardless of the subject. Often, I add in an unusual angle, a novel perspective to make the familiar unfamiliar, and heighten the interest and intrigue.

My shot of 'The Shard' sums up my approach perfectly. The light is ‘heavy’ due to the weather, the spire-like design of this sliver of glass is pure geometry and the soaring viewpoint dramatizes the impact of the image.

So is photography an art or is it a craft? For me, it’s both. The art is in the taking, the craft is in the editing.

Among my influences, I count Henry Cartier-Bresson, Robert Capa and Lee Miller; famed photographers whose black and white images use light, subject and space to catch that moment in time that tells the story.

My current focus is architectural images and studio work, as you can see from my portfolio. In future, I plan to extend my studies into theatre and movement photography.