Mike Peters Photography
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Mike Peters was so impressed on seeing the MOMA photography exhibition The Family of Man in New York that he quit his full time career as a jazz musician and became a photographer “Overnight”. His first photographic portrait - of a visiting jazz musician – was published in his local paper a couple of weeks later. He subsequently took many of the now iconic images of Eel Pie Island jazz and blues club including some the earliest pictures of the rolling stones. His first major photographic essay Rus in Urbe: a study of London’s countryside appeared in The Illustrated London News in 1966 and subsequently toured the world in a Kodak travelling exhibition. His work has appeared in many publications including the Sunday Times, Observer and Telegraph magazines.
As a photojournalist, Mike has covered a wide range of subjects from publicity pictures for Shelter (the charity for the homeless) to portraits of politicians and actors. Industrial photography has taken him on oil rigs and down coal mines and his sports portfolio includes athletics, football, sailing and his passion for angling. His travel photography has taken him twice around the world. His latest project – on Cuba – is ongoing.
Although he has won awards for his sports and industrial work Mike returns again and again to the countryside for inspiration. Photographing trees has become something of an obsession. Trying to capture the atmosphere of the forest, the ever-changing play of light and colour from hour to hour and season to season. Mike was not satisfied with a conventional interpretation and has over the years developed and perfected his own technique to portray the impression of woodland scenery. Many of his works has been likened to impressionist paintings (Photoimpressionism) and he lists Claude Monet among his favourite painters.
Mike's methods of production has puzzled many fellow photographers. Although he is reluctant to reveal exactly how he produces these images, he will go as far to reveal that all of the pictures are produced ‘in camera’ without the use of special filters or unorthodox printing methods.