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David A Hall


The work I exhibit gives me a huge sense of accomplishment and fulfilment, put simply 'This is exactly what I should be doing.'

Upon finding a suitable location I will often wait days, weeks and even months for improvements in the available light, taking into account calculations of the various trajectories of the sun as the earth orbits throughout the seasons as well as the lunar tidal rhythm. This purposeful approach can result in planning shoots years in advance.

Through my images, I seek to convey the beauty of our rich and diverse natural environment, I am forever humbled by the forces that have made it so and it’s contrast to the frailty of human existence and just how much we are taking for granted.

Background with over twenty years experience, I was first published in 1989 in an article marking the anniversary of the first 150 years of photography with an eye on future photographers. I studied at the DLSAD now the Institute of Art. I went on to establish myself as a still life photographer in London having assisted a number of established photographers.

I set up my first studio in the early ‘90’s and having moved from studio to larger studio three times, I decided to take a break circa 2001. I turned my back on my professional career simply by making the decision not to accept commissioned work furthermore. My work now marks a significant change in my career but draws on all of my previous experience both creatively and technically. Using the most sophisticated equipment and the latest digital post production techniques my large format work captures with subtlety & empathy the essence of a place.

Work is ‘Face Mounting on to Perspex’. This is a process where the finished print is sandwiched between a piece of Perspex and Dibond Aluminium backing sheet. Recent research by Wilhem-Research.com suggest that a colour print from a Canon 12 colour ImagePROGRAF iPF6100*, on Gloss media under a Perspex substrate could offer a light fastness of 176 years.

Thompson's Marylebone

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