My Photo and Camera Journey By Steven Crichton


My Photo and Camera Journey

By Steven Crichton

The first act: Style and Ergonomics.

I suppose the first time I realised I had a look to my work was when a lecturer watched a group project and exclaimed “That’s a Crichton shot if ever I saw it”. I suppose it was at this point it dawned on me that I’d finally achieved the personal nirvana that so many of us dare not mention to ourselves in our work. I had a style unique to me.

I’ve been involved in photography since about 1996, when a few friends were applying to go to Art School. I looked at their portfolios and said to myself, “I can do that” and that was the point at which I paid £5 for a beaten up Fuji ST501, started to invest my pocket-money and hard-earned cash from a dishwashing job in film. I was abysmal!

I tried every technique. Read every book. I could never stick to one thing and dipped my toe into every known stylistic pattern I could achieve with a 50mm lens and a darkroom. Just the other day I found a bundle of solarised prints, no doubt borne out of a section in a book borrowed from the library on Man Ray, along with a passage in a John Hedgecoe Darkroom Techniques.


Anyway as time went on I jumped about gear too. As I aged, my credit rating aged, my earning capacity increased and by the end of my initial film use period I was deep into a canon EOS system. With a healthy splattering of M42 adapted lenses. A Russian fisheye and a motor drive meaning I’d achieved 7th heaven for a then aspiring Skateboard photographer. However, around this time I started wearing glasses and this is where the second part of the tale comes in.

I’m left eyed. I wear glasses. Find me any camera designed for eye level use for a left eyed glasses wearing photographer! My right eye had been damaged by spray painting accident as a 5-year-old in helping dad fix the car. An incident where a man underneath a dismantled engine, holding a crankshaft doesn’t sometime have the time to realise he forgot to put the safety cap back on the spray can. I cried yellow and didn’t get the chocolate I was promised. Other than that I became predominantly left eyed and forever the last person the R&D department of every camera manufacturer would think about.

Back to the rest now.. It was about the time of starting university that I gave up taking photos as voraciously as I did before. I stopped carrying a camera and concentrated on playing the Guitar. Also as many camera toting musicians will know if gear is addictive in photography, with electric instruments my word the possibilities are endless to allow your hard-earned money pour from your pockets. Anyway, University ended, I bought a car .. cue next money / energy waste. Then I met a girl! (I had met them before, just not a significant one)


She was an art student and did a film course. Bang I was back. Starting out with the most beaten up canon F1n you had seen. I alas didn’t get to meet Crocodile Dundee whilst using it ( I later stupidly refused an offer to buy the actual camera from the film ), but I found my love again. This combined with a purchase of a proper film scanner a DSLR and a Seagull TLR camera I dipped my toe back in. Excited as well by the advent of Flickr. A wonderful place where we can all have our backs patted and have a serious amount of paid work time wasted if your then employer doesn’t understand what you really do for a living.

Hasselblads, Contaxes, Leica R’s, Nikons (to which I stayed loyal on the periphery) , Linhof’s. Even a B17 Bomb-door Aero-Ektar mounted into a Graflex to shoot handheld. I jumped about a lot. My nose firmly planted behind the back of each of them. Glasses pressed to the side of my head. Still jumping between a lot of things as formats and my taste changed.


Then suddenly. Something worked.

It’s that moment I hope all of you will have one day that. The camera comes up and goes down. You don’t look at the screen and you know what you saw you captured as you intended.

It came in the form of a Bessa R3a and a 40mm Nokton. Plus add into the mix Kodak UC 400 and Ilford HP5. I’d bought the hand winder, so no more poking my face winding on. I’d bought the grip to push the winder into my hand that looks like a dildo. Plus I’d actually read and paid attention to the wonderful font of knowledge that Roger Hicks and Frances Schulz bestowed upon us in their book of Exposure. ( for anyone looking at it .. take older sensors as slide film and newer ones a little more like print film)

It’s about this time things became consistent. I found my eye.. I found the lenses that fitted my thoughts. Then got an M2 then an M4-P to use in tandem. Looking back now at work from then it’s almost the same as it is now in the composure, the colour and ways I’ve torn a set of shapes my brain was faced with into a picture to draw someone in or hopefully let them see a little of what I saw in someone.


The Second Act:

Life sometimes deal’s strange a strange hand to us and I was given the opportunity to study an Imaging masters at Duncan of Jordanstone art school in Scotland. I jumped at the chance, after being so angrily denied previously by my parents.By then video in DSLR’s had hit, I had a D90, I’d wasted countless hours reading about T stops, Focus Pulls, made dubious home-made rigs and all the like. I’d even written my own video editing software as by trade I’m a programmer. I sold almost all my film stuff keeping the M4-P and 2 lenses and hit Nikon hard for a range of lenses, tripods and bags.

The Crunch. No one tells you how much you will hate something when you are forced to do it!



Creative work for me had been an escape. It now became a battle when I had to justify it with research and abstraction in every way. I wished people would get it ..

“If I think it’s interesting and cool and so do you, why do I need to back reference this to some made up back story or delve into the battle that art has with science”.

As you all can gather in an art school this is like presenting a lecturer with a freshly scraped up piece of roadkill. So I stopped. Completely. I graduated and stopped. 3 years passed and thankfully, the bitter taste of pressure gone, I wanted to enjoy the process of photography again.

Moving to a city such as London, you downsize, rapidly and totally. I went from a 4 bedroom house to a single room, so the loss of equipment was brutal. No more Leica’s, 1 Nikon d300s and an old F3 I had if I wanted to shoot some film. After a year of the city I left, but in the strange hand of fate kept a full-time night job with the Tate gallery, as well as my new full-time position back in Scotland at a Medical School in Dundee.


I had money!

I mean I had the kind of money you either put a deposit on a house with or you consciously waste on every childhood dream toy you ever wanted. I drove a fast car, toted a Nikon D3s. Had the best zooms, the best primes (according to reviewers) and still had the same style! At last consistency in my work. Alas my nose and my eye hated placing a D3s shaped brick to it, but I went on.

The Final Act:

Then I sold it all. 4 backpacks of lenses bodies, supports, diopters you name it. If there was something in a drawer and it had Nikon or was “compatible” I put it in the camera bags I had and jumped on the train. 8 hours later standing in the North of Scotland I had an M9. Along with it, 4 lenses and the viewfinders needed. I genuinely felt like I had just come back home.


A bit of time with adjusting the focus to allow for my eye being at an angle to the viewfinder and a soft release to boot I haven’t looked back. Throughout all of this time since getting it my shots look like my shots, I know what to expect and I know how it will all sit together still.

Then all of a sudden I’d expanded this kit a bit. G.A.S struck! Things like the voigt 12mm the summicron v4 etc .. all lenses that are according to the internet “sub par” on an M9. Little do they know .. I don’t shoot test charts and I actually print stuff I like out. I also work to the limits of what they can do. Then came along came Sony!

The crowning glory that Sony have managed, that is ignored by all. Is that the A7 range cameras can use every lens known to god and can nearly accommodate a part Italian Scottish nose when combined with a left eye. People bang on that lens X is awful, and continue to do so. “You need a Leica M240 or if only they had …” I say to you, when you use it does your style show through? Does it fit you? As nothing else matters. (unless it’s a biogon lens then yes they are awful… sorry Zeiss and sorry for the double standards people of the internet these are bad on the A7 ranges even adobe’s DNG light field correction filters can rescue them).


So what do I grab now? I grab what works. I don’t assume a lens will deal a magic blow and I don’t assume the camera has an automated mode that makes me a grand master selling work for more money than I earn in a year. I grab the M9 or the A7 dependent on weight/laziness/feeling/weather and go out and shoot.
Probably by this time you are all very bored with this and looking for a conclusion. Well it’s in the Title; Style and Ergonomics.

If you can get a style stick with it, keep on working with it. If you can find something that fits you as a human, even if it’s not resolving 100000 lph or has a dash of vignetting and aberration, you will use it more than the 20kg Zeiss Otus that your wrist screams at. For me it’s a badly worn M9 and an A7 with a ragtag bag of lenses and I’ll be keeping it that way for years to come.








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  1. So it’s probably time I should submit a follow up to this soon. Steve / Brendon … would that be a good idea?

    Things have changed in 12 months and I think there’s been another re-discovery that is more around learning when not to shoot.

    Let me know!

  2. Hi Steve,

    Brilliant photo essay.

    I also became a left eyed photographer by a similar accident. A glass ampoule with a nasty liquid burst next to my right eye when I was 8. As a result I have better sight on the left eye and got used to deal with it when using my cameras.

    If I had to pick one of your pictures as a favorite, I would choose the 2 people on the beach. I love the style similar to a watercolor painting. Composition, color and mood, simply perfect. I just came back from Switzerland, perhaps it showed me how much I missed the sea.

    Thanks for sharing your thoughts and photographs, you inspired me to share some of my photos in the near future too, even if my own writing skills will fall short on your very entertaining essay.

    Kind regards
    Erik Neu

  3. I really enjoyed reading the article and watching the pictures.

    You have a lovely “laid back” way of telling things and may save some people a lot of money and hazzle in this GAS-hell we’re all in 🙂

    Lovely reading!

  4. YESS!!! Striking text (lyrics), interesting, with sense and pictures I seriously enjoy. My journey up to now was different, of course. But I ended up with an A7, nokton 35mm, hexagon 40 and 50mm, a Jupiter 9 (85mm) and a Nikkor105/2,5. Affordable for me (lot of kids), but it works and feels RIGHT!
    Little by little I get closer to my ideas of fine photography and that is a GOOD feeling, as you know.
    Really enjoyed your article….

    • Another thank you for the article! Unfortunately, it’s an all too common notion nowadays that photographers don’t have to study other photographers, that it’s better to ignore what’s out there and develop a style on your own. With very few exceptions, all the greats in all the arts had to study before they could develop their own style. This article is a great reminder that we all have to go through that same process.

  5. Well written and interesting read. And I can completely relate with regards to finding your style as well, for mine is constantly evolving. Beginning to think it’s black and white portraiture.

  6. Very interesting photos that shows the path you’ve been through. It’s true, there’s not better feeling that saying “Today I’m in the mood of shooting with that old russian screw lens”, or toy plastic one, or a fisheye, or that old adapted tele you bought on the net… or the latest fast autofocus marvel you just bought. The right tool for your vision 🙂

    • Sorry to say it’s the sea pool in St andrews next to the old course. I think it was the same people that designed them all. Every time I discover another I get a weird “I’ve been here before, haven’t I?” Feeling.

  7. Nice post, and some interesting shots.

    Man, I feel like a paradigm of gear purchasing restraint, after reading the unending list of camera systems you’ve been through! :^)

  8. Great stuff, great post and pictures. Not a bad idea for a weekly feature here either. Personal photographic histories from the beginning to the present. Hmmm.

  9. Something (difficult to describe) in your pics made me read your story. And indeed, after reading, I knew what it was that I like in both (pictures and story). I love how you dare to take decisions and act upon them, regardless the consequences and regardless possible opinions from others. You just always did “your thing”. That’s pretty admirable, and I can fully appreciate this, even when I sometimes think and act differently. But that’s not relevant: even when thinking (partly) different, it doesn’t make me enjoy your work any less…
    Great and very interesting story ànd pictures, Steven!

  10. Steve

    Love the photos and the narrative. But I am confused as to the style. Can you describe your style in writing? I ask because the photos themselves all look so different to me so I cannot see a stylistic theme connecting them.
    I’m having problems creating a style of my own, and the reason for that is that I like to take photos of so many different subjects. So interior portraits will looks nothing like landscapes which will look nothing like my skateboard shots which will look nothing like etc etc.
    It seems much easier to develop a style if one focusses on one theme. But for me, there is too much out there to do that!

    Again, not a critique per se, as I am trying to figure out what style is. For some, it is easy to see – Ansel Adams, Helmut Newton. But I think that is because they stayed within a tight subject confine.

    Kindest regards

    • No need to focus on one thing at all. My landscapes look different to portraits etc… It’s just you will see things like composition and the final finished pictures have a certain link. You’ll see it. It takes a while. For me it was being comfortable in how I break up a scene and put it all back together. Everyone’s mind works differently. You will break up the interpret the shapes in your way. All the great names are the same. Don McCullins landscapes have a link to his war photos etc..

      Biggest thing is not to worry about it. It will click when you don’t try to force it.

  11. Very entertaining story and photos. I’m hoping also that moving to the M9/A7 combo corrected that peculiar and potentially embarrassing condition of your hand – “I’d bought the grip to push the winder into my hand that looks like a dildo” 😉

    Thanks for a good read.

  12. Steven (oh; I’m a very critical person as many here will confirm, so beware 😉 ), this must be the best narrative I’ve read here in a long long time; I really loved reading it. And the images? Apparently vision is a phenomenon that can shine independent of fully functioning 20/20 eyesight. I really like them.

    Of course, that 5 bucks ST501 might have done just as well… I’m joking. Whatever gear your eyes and hands feel comfortable with, that’s the main thing.

    Thanks for sharing this!

    • Agreed. This is one of the best photo narratives I’ve read in some time. Your story is easily as good as your pictures. Better. Your prose is beautiful in a gutsy Hemmingway way, challenging, and quite inspiring. A sort of rags to riches to rich rags story, one that makes me want to quit my day job (and the night one too), and get a photographic artist’s toolkit. For me just now that would be the Sony A7s for low light, a Fuji xe2 for film magic and dancing the light fantastic, and if I were extra rich, a Nikon 810 or the Canon III for speed. Looking over your photos, I’m wondering whether you’ve got a definitive style or whether that style is evident because you keep saying that you’ve found it. Yes your work is off centre and off-beat, and there’s a kind of ghostly quality to it…but I’m thinking that your wording of your work is a huge part of makes your style, well, stylish.Well done!

      • No it’s not definitive at all. It would be quite stagnent if it was. I notice I use space a lot and don’t go over the top in post. I keep to a rule if I can’t get things right in 5 minutes of working on a file or a neg it’s not going to work.

        I did do a lot of commercial architectural work, so maybe it’s composition?

        Who knows I’ll just keep doing my thing as long as it works for me.

        • Let’s talk composition, colour, shades, moods! And let’s hang on to the already great gear we have.

        • Agreed that this is an awesome narrative. Like so many of the greats in photography and other arts, you really studied past masters and took what you learned to create your own style over time. This is a process way too many photographers seem to neglect nowadays. I hope I can come to that stylistic revelation some day.

          I totally connect with the left eye issues, as I am left eye dominant but right handed. I’ve lived with this for my whole life so it’s not that big a deal most of the time, but when using my DSLR, I have to be careful not to poke my right eye with my right hand when looking through the viewfinder. And I stick by the same rule in post, if I can’t get it right in 5 minutes, I consider the it a missed shot.

          Keep up the great work!

  13. Very enjoyable read. I envy people like Steve. I have yet to develope a “style” and after more than 15 years and thousnads of images still have no idea how to get one. 🙁 At least i have figured out it is not the gear. Some progress i guess…

  14. Very enjoyable photo essay. I really like the leading lines in the photo of the woman in black (#5). You seem to be able to find something of interest in otherwise mundane settings (third from last image). Good eye, excellent composition.

  15. Once again, text that I would have dismissed as self-indulgent navel-gazing, had it not been accompanied by rather brilliant photos. Together, it all makes sense. This just seems to keep happening to me on Steve Huff Photo…

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