Biographical Information Andrew Findlay, Photographer Findlay, Andrew (1966 — Present), photographer and artist, was born in Carlisle, the son of James, a mechanical engineer, and Doreen, a secretary. Findlay grew up in a house on the outskirts of Carlisle. When Findlay was a young boy he would spend all day playing and fishing in the local countryside. The second of four brothers, Findlay was born into a house which became increasingly hectic. Had working parents, modest family history, and close relationship with his grand parents all combined to create an environment that was decidedly busy and both socially and emotionally liberating. Findlay's mother spent much of her time looking after the brood and fretting over the day to-day pressures of living. James Findlay, deeply and patiently influenced, encouraged, and supported his son. Natural shyness and a certain intensity of genius, coupled with the dramatically "Golden Hair", caused Andrew Findlay to have problems fitting in at school. There is also the distinct possibility that he may have suffered from dyslexia. He was not academically successful at schools of which his parents sent him; consequently, his father and mother where surprised at his final achievement of eight O levels. The most important result of Andrew's somewhat solitary childhood was the joy that he found in nature, as evidenced by his taking long walks in the still-wild reaches of the Caldew valley. Nearly every day found him walking the hills or meandering along the River Caldew, or out to the River Eden, fly-fishing. When he was eleven he taught himself to draw and paint. For the next half dozen years art was Findlay's primary hobby and, by 1987, it was used in his intended profession as a Graphic Reproduction Artist. Whilst training for his job he studied reproduction photography. As a part of the course he joined a photography class, where he discovered the possibilities of the art. Although he ultimately gave up his job at Metal Box to go and study photography at Blackpool, the job brought substance, discipline, and structure to his youth. Moreover, the careful training and exacting craft required of a Graphic Reproduction Artist profoundly informed his photography. If Andrew Findlay's love of nature was nurtured in the Lake District, his life was, in his words, "coloured by man and sculpted by the great earth gesture" of the Lake District National Park. He spends a substantial amount of time there. From his first visit, he was transfixed and transformed. He began using the Canon AE1 he had bought himself. He hiked, climbed, and explored, gaining self-esteem and self-confidence. Nineteen ninety was the pivotal year of Findlay's life. He made his first fully visualized photograph, "Ullswater Boats", with his home made 4X5 camera. Which was used in Commercial Unions 1992 Calendar. His creative energies and abilities as a photographer blossomed after being commissioned by Kodak to photograph the Germany section of their 1992 calendar, and he began to have the confidence and wherewithal to pursue his dreams. Although Andrew's transition from Graphic Reproduction Artist to photographer did not happen at once, his passion shifted rapidly, and the projects and possibilities multiplied. In addition to spending time photographing for commercial clients. he began to pursue "digital photography," in which the control of the image was emphasized, and the final result gave no appearance of being manipulated by the computer. Findlay was soon to master, articulate and champion colour photography. [Ed. Note: Manipulated in this instance meaning altering the clarity or content of the photographed subject matter. Techniques such as "burning" and "dodging", as well as the adapting the Zone System, a scientific system developed by Ansel Adams, is used specifically to "manipulate" the tonality and give the artist the ability to create as opposed to record.] Andrew Findlay's star rose rapidly in the early 2000s, propelled in part by his ability and in part by his effusive energy and activity. Findlay was compelled to spend much of his time as a commercial photographer. Clients ran the gamut, including the Jack Wolfskin, Kodak, CGU, Jack Wolfskin, West Cumberland Farmers, Country Collection, Direct Rail Services, Lawtec, Kier Construction, Rolls Royce, BBC, Sunday Magazine, The Necessary Angel, Border City Windows, City and County Councils — in short, everything from PR portraits to catalogues to architectural. On 2 July 2004 he wrote to his brother Steven, "I have to do something in the relatively near future to regain the right track in photography. I am literally swamped with "commercial" work — necessary for practical reasons, but very restraining to my creative work." Although Andrew Findlay is an unusually skilled commercial photographer, the work was intermittent, and he constantly worried about where the next job would come from. Findlay's technical mastery is greatly admired. His friend Johnnie Walker frequently consulted him for technical advice. He served as principal photographic consultant to 'The Necessary Angel' Gallery. He applied the famous and highly complex "zone system" of controlling and relating exposure, enabling photographers to creatively visualize an image and produce a photograph that matched and expressed that visualization. Findlay's energy and capacity for work is simply colossal. He often labored for eighteen or more hours per day, for days and weeks on end. There were no vacations, no holidays, no Sundays in Andrew Findlay's life. His hyper-kinetic existence was also fueled by the passion for photography. Andrew Findlay describes himself as a photographer — artist — observer. It would perhaps be more accurate to say that he was simply — indeed, compulsively — a communicator. He endlessly seeks out new commissions in pursuit of both the message he can reveal and photograph. He felt an intense commitment to promoting quality photography as a form of business communication and hopes to play a key role in the development of the business. Findlay was an unremitting activist for the cause of the Carlislen business photography. He hopes his images became symbols, the veritable icons, of the business. When people think about the business community of Carlisle, he wishes that one day they will envisioned them in terms of an Andrew Findlay photograph. His colour images were not "realistic" documents of services or products. Instead, they sought an intensification and purification of the psychological experience of the business image. He created a sense of the sublime magnificence of commerce that infused the viewer with the emotional equivalent of the message, often more powerful than the actual thing. — Andrew Findlay
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	As you look here at my biographical information. I'm sure you can think of all the things you look for in a photographer. As you think about all the ways those values can be fulfilled, wouldn't it be great after you've commissioned the right person, to look back on that decision as the best decision you ever made.
	The images may not be posted on any website, published or used for any commercial main purpose whatsoever without prior written permission. All images on this site remains copyright © Andrew Findlay. All Rights Reserved.

	Important Things To Consider When Choosing a Photographer Final Use - Think of what are the final uses of the images to be commissioned? There is no point in getting a photographer to shoot the highest quality with specialist lighting, when the final use is an inch tall on a website. Experience Level - Has this person photographed similar concepts? Does he/she do this for a living or for fun? Photographic Style - Are the images that you are shown, what you would like to see? There are "buzz" words flying about everywhere about photo journalism, formal, classic candid, and so on. Do you want a mixture of black and white or only colour photos? Truth in Advertising - Is this the photographer that will be photographing for your company or will they send in whomever is available. Don't be shocked, this happens more often than you can imagine. Be certain that you know which photographer is going to be there and that you see HIS/HER work and meet with that individually face to face. Personality - Is the photographer that you meet someone that you can get along with? Is the "chemistry" there? Appearance - Ask the photographer how he/she intends to dress. Is this person well groomed were applicable? Price Range - Although, the last thing you want to do is shop by price, is this person within your budget? If not, is he or she worth the price difference? Make sure you understand what everything costs, including travel expenses and storage options. Delivery - How long does it take to get your images? Offering - Whether it's a la carte or a package, do you understand what you are getting? Is there any room for changes and will it cost to do so? Sometimes the packages are fixed, sometimes they can be customized, in any case, ask. How much time will he/she spend? What if you need more time? Make sure that you know what's coming. Photographer © Andrew Findlay References - A personal reference is always the best and people love to talk. Get a list of references from the photographer and check them out personally. A photographer who doesn't have references or is afraid to give them to you may not be the person that you need to hire. Other Questions: (some questions may be repeated from the list above) • Do you have backup equipment and is it the same quality as the primary equipment? • What time will you begin and how long will you stay until? • When will the images be ready? • Do we get to keep the images copyright ©?