|I actually decided to add my own little contribution on the Web ( on the 17th of January 2001, to be precise) as this is one of the best means to introduce and make known people you admire for their achievements and you believe ought to get better exposure! I realise that as Art and Artists belong to a very subjective world, visitors will prove indulgent towards my own tastes and actually contribute their own comments and introductions!|
Geoffry D. Hinton was born in 1953 at Auckland, New Zealand.
He has been a resident of Shizuoka City for the past fifteen years.
Mr. Hinton graduated from the University of Canterbury, Christchurch, N.Z., having majored in Environmental Sculpture along with Painting and Photography. He has also done work in Social and Physical Anthropology at Auckland University with such studies leading him to come to Japan.
Upon graduating his early work "The Incandescent Object" was chosen for inclusion in the Benson & Hedges Art Award.
Mr. Hinton has also worked with leading newspapers in New Zealand (commercial art and editorial), both the former Radio N.Z. and T.V.N.Z., and has worked with many independent filmmakers in New Zealand, Hong Kong, Australia and Japan. The documentary "The Heart of the Sword" was one such project as was the recent "Ee Bwana" by Trevor Almeida, another. His video/film "The Permanent Sky" was awarded a special prize at the Hida-Takaiyama Video Festival.
In Japan he has not only done documentary film work but also stage performance direction, has taught "creative studies" -- language as means to self-expression --and photography. He is presently a Visiting Lecturer at the Department of Education, Shizuoka National University.
Over the past fifteen years Mr. Hinton has regularly contributed to art exhibitions in Shizuoka (Kenrittsu-bijutsukan -Shizuoka Prefectural Art Museum-, Sumpu Bijuttsukan -Shizuoka Municipal Hall-, Galerie Voyant, etc) and in Tokyo: Gallery West,Ginza, and at the Nissan Plaza. He participated in the "A-Value" exhibition at the National Gallery, Manila, The Philippines.
Mr. Hinton's novel "...and there were none." was published by Minerva Press, London, in 2000. Avalaible from http://www.amazon.com.uk/ . At present, aside from photographic work and painting, he is at work on his second novel and a collection "scenes".
Mr. Hinton continues to live in Shizuoka City, but also travels widely, as he has done for the past twenty-five years.
Indeed, as regards to "technique", there is little to none. A standard 50mm Zeiss lens was used, a lens often disdained by "cameramen" as next to useless. However, here, it offers a realtively neutral point-of-view, while not allowing for wholly predictable results, that is, there is less control with a 50mm, than with other, more specialised lens.
The camera, an old Leica M3 with a hand-held light meter. No tripod was used, though. The film, regular Fuji Reala.Colour film is used so as to avoid Modernist "Art" photography. Connotations which are really nineteenth century Romantic ideals.
And so, these photographs are really no more than formalised snapshots (the meeting of chance and skill): formalised because time and care was taken with "framing", i.e. "bracketing" (all photographs are full frame) --attention was given to composition within the frame, as in painting and with particular reference to Manet's style and August Macke's use of verticals to create depth.
The printing was done, very kindly, at the local shop.