twitter.com/Yorktone

 

Guardian interview www.theguardian.com/artanddesign/the-camera-eye/2014/feb/...

 

Muse interview

www.nouse.co.uk/2014/02/11/the-art-of-being-human/

 

streetphotography photo-books available at www.blurb.co.uk/user/yorktone

 

Recent reviews in the Guardian

 

www.theguardian.com/artanddesign/gallery/2013/nov/19/guar...

 

"Cole's clear observational style and human insight is hugely refreshing, amongst a plethora of over processed and vacuous images."

 

www.theguardian.com/artanddesign/gallery/2013/oct/31/phot...

 

In 'If leisure and security' it's really the light and shadow that's significant than the use of colour; the man and dog are rooted in the shade, while the girl walks on and into the sunlight. The quiet moment shown in 'There is no escape' contrasts different colour temperatures and soft and hard structures, the strange gesture of his right hand adds an odd touch. The pathos in 'Better than anything' is palpable, the Bukowski poem on the Flickr page is a perfect counterpoint to that. 'We will fall' - busy people passing two men, one head against black, the other against white, it's perfect in black & white. The compressed perspective of 'YOLO' is the key to this image, the 'Yolo' top and the Health Food shop just add to its meanings! 'Always and in all' simplier, counterpointing those inside, and those outside, which is perfectly matched to the Huxley quote. Great street photography!

 

www.theguardian.com/artanddesign/gallery/2013/sep/06/phot...

  

The geometrical precision of the light and shadow in 'This nerve that winces' makes a fascinating and formal composition; add to that an expressive and rather bizarre figure, and it becomes a wonderful image. The synergy of the hand gesture, and the position of the ball, in 'O Lucky Man!' are perfect, lucky indeed! It's the Hydrant sign in 'A clue' that's the icing on the arrow cake, all well observed. Less interesting is 'High windows', as the image seems over familiar somehow. Back to dynamic lines with 'No left or U turn' where the woman's posture follows the shadow line; 'Halfway down, in the darkness' uses challenging light to convey a strong sense of desolation and despair, but who really knows? These are exceptionally well observed and constructed images, the layers of meaning more than satisfying

  

www.guardian.co.uk/artanddesign/gallery/2013/jun/27/photo...

 

The elegant symmetry of the composition gives 'Monument to nothing' a kind of formality, it's a touching image of a (presumably) homeless man, or is it simply an exhausted backpacker? Falling into the 'you couldn't make it up' category, is 'Recall the time' - a perfect exposition on social interaction, or the lack of it. The reflection in 'It isn't the same for them' strengthens the construction of this insightful photo; two views of the same two faces adds some unexpected depth. 'Division three' is such a cool composition, it's impossible to look at it without grinning! The perfect moment of 'argument' is a lovely street shot, as are all these images, coupled with those well chosen quotes. That expression seen in 'The value of culture' is simply so descriptive, it's a powerful photo. The value of these photographs is their acute observations of the human condition

 

Another review from the Guardian

www.guardian.co.uk/artanddesign/gallery/2013/may/20/photo...

 

There's an implicit narrative in 'Always seeing something, never seeing nothing' which makes it not only an intriguing image visually, but a great starting point for inventing your own story. The sharp observation of 'Line of thought' is an elegant illustration of public behaviour. The rather gloomy 'Where the wild things aren't' is so full of detail: the smoke, the three pigeons, the woman; only the space to the right of her seems redundant. The formality of composition, the columns, the suit, all combine into a masterful street photo, 'Untalkative, out of reach' is another perfect observation. To have caught 'Stuffed pigeon' is an achievement in itself, the fact that it's also a dynamic and well framed is a bonus. The anonymous figure in 'Give way' is all about the angle of the body, no face is needed to tell this story. A set of hugely accomplished photos, a case of 'all human life is here'

 

Guardian Gallery and review from 2012

www.guardian.co.uk/artanddesign/gallery/2012/oct/15/1

 

The quotation from 'Money' by Martin Amis that accompanies 'The train' sets the scene, perhaps this text is the frame. The wonderfully edgy 'Priapus' is a clever juxtaposition of expression and background image, as the saying goes, you couldn't make it up. As an illustration to Larkin's poem 'No friends' works well, as a photo itself it is less interesting. The complex image 'The true picture' is a great combination of elements, well caught! 'The guillotine' is perfect, two heads down, the central figure seemingly aware of his impending doom. The hugely atmospheric, and rather sinister 'Another secret garden' ends this wonderful set; a combination of acutely observant photography and cultural references combine to delight us

 

more online stuff of mine at

www.guardian.co.uk/artanddesign/gallery/2012/nov/07/photo...

 

www.nationaltheatre.org.uk/discover/port-urban-photograph...