Here are a few answers to some of the questions I'm often asked. If you would like more information I can send you details of courses, workshops, and photography groups you may like to join.

How did you get started in Photography?
As a child I was always creative, and spent most of my time in the art department at school; that's when I started taking photography seriously. After leaving school I went straight to college, to study photography and film. Later I learnt more by working with other photographers, while building up my own work and reputation.

What is your photography about
My work is essentially people-centred, I am interested in exploring the human condition. And the quality of light has always been a source of fascination to me, that's what drew me to photography early on, it's the essence of photography. There are features of practical photographic craft that I simply enjoy. Sometimes I work on less literal projects that ask questions or provoke.

What's better, digital or film?
Both media have benefits, so I use both. Digital photography has revolutionised amateur photography and liberated people who have been poorly served by many high street processing labs over the years. For a professional digital media takes on a different complexion. At the moment film, particularly larger formats, has greater ability to resolve detail than digital cameras. I can digitise film-based images by having them scanned, to get the best of both worlds. Working photographers have always used a range of different camera formats, it's part of the job, and digital photography is simply another tool. Different camera formats encourage you to work in different ways. Digital cameras are quick to use and save you money on film and processing, so they can be good for professionals such as press and wedding photographers. Some freelance photographers who have moved over to working purely digitally miss being able to leave film at a lab at the end of a working day, where technicians finish off the job. They now have to spend extra time working at the computer. I haven't yet seen an ink jet black and white print that's as tonally beautiful as a fine darkroom print. All digital imaging is heavily battery dependent. Most digital cameras don't like cold and damp. For photographers working in remote and harsh conditions film may still be a good bet. If you want big exhibition prints you will be better off with film. It really depends on the work you do. Many people have found digital photography liberating, but it does mean investment financially, learning the technical stuff, and keeping up to date with changes.

For the time being, when image quality and reliability are at stake, or when I want a monochrome image, I often use film. If necessary I may then scan that film image and work on it digitally. When speed is paramount and I'm closer to home I may work with a digital camera. I worked on a project with both a digital SLR and 35mm rangefinders at the same time. What struck me was the clarity and simplicity of the rangefinder camera compared to the cluttered controls of the digital camera, with it's confined viewfinder. If you have to view the building blocks of an image I find film grain more visually 'organic' than pixels. I'm not against the technology, it's just all so new that it hasn't had over a century to evolve and refine itself as film based media has.

If you really want to improve your photography I would recommend spending time in a darkroom learning to print. Some of the best Photoshop operators I've seen have darkroom experience, it teaches you subtlety. Nothing beats seeing the image appear in the developer, it's magical and simple. Crucially you see how exposure works, right in front of you. This is what happens inside your camera, each time you take a photograph but you never get to see it. To print well in the darkroom takes craft, which means spending time with your work and respecting a process. Working at a computer is different, relatively fast, with more options - it can encourage beginners to 'over work' images. The range of digital manipulations available can make people less disciplined, images become more disposable and can seem to lack integrity.

Digital imaging is changing the way we view and use photography; it's interesting new territory. The presence of digital processes does not make film redundant, it allows us to do more photography, giving us all greater flexibility. The real issue is to produce more quality photography, not to make average images more easily, bigger, and faster.

How did you get involved with educational projects?
While working on projects overseas I got involved with the British Council, an organisation I came to respect very much, and that led on to some educational work. Photographers take, and teaching is very giving, so it feels good to put something back. I have enjoyed working with a diverse range of people: people building new lives for themselves, groups with disabilities, groups with long-term mental illness. But I've also enjoyed the challenge of lecturing at college and university level.

What photography courses do you run?
I have taught both practical photography and the academic and theoretical side of photographic studies, up to and including university level. I enjoy coming up with special courses for particular groups. I've done a lot of outreach work, overseas and in the U.K., taking visual learning out to people who wouldn't normally have access to it. I like working with people living on the fringes of cultures.

Here are some of the educational activities that I have specialised in, please contact me if you would either like to join a course or group, or if you would like me to devise a special course for you.

• Travel photography (sometimes taking short trips abroad).
• Photography for special needs groups.
• Community-based photographic projects.
• Improving personal creative photographic skills.
• Establishing a personal photographic style.
• Darkroom training for beginners, intermediate, and advanced workers.
• Lighting.
• Digital photography.
• One-to-one training in specific skills.
• Staff training for personal development.

What sort of equipment and materials do you use?
I like solid, simple equipment - reliability and ease of use are vital. Good lenses are vital, too. Today zoom lenses are used by many people, but fixed or 'prime' lenses are usually sharper and allow work in low light conditions without flash. The film I use varies according to the work I'm doing, I try to use low ISO-rated film that's practical for the lighting conditions, because slow film reveals more detail. All films or cameras have different characteristics, you just have to use them consistently and get to know their personalities - they may become friends or not. Where you get work processed is equally important. Find somewhere good and build up a relationship with the technical people, they can be very supportive. The same goes for sellers of equipment and supplies. Silverprint in London carry a wide range of materials, specialising in some items that are hard to find elsewhere.

To find out more mail - Gavin.Mount@btinternet.com
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