Adam Regan began his career as a photographers assistant, but was lured into the advertising world with the promise of being able to afford to eat. He then spent over 20 years working as an art director and creative director for advertising agencies that included TBWA, JWT and The Ball Partnership, in London, Hong Kong, Johannesburg, New York, Paris and Chicago. During this time he created award winning work for Nissan, Philips/Norelco, Gallery 13 and Compaq Computers amongst others.
Throughout this period Adam worked with some of the best photographers in the world, testing their patience with incessant questions and continually invading their personal space, so he could get a close look at how they worked. In 2008 he began shooting for himself, whilst also art directing on a freelance basis. His work was swiftly awarded and recognised by various festivals including IPA, PX3, The Photography Masters and PDN. He’s more recently been awarded by Communication Arts, National Geographic Traveler and APA.
Artist Statement: 'I first fell in love with photography as a teenager in the 1960's - mostly through the English Sunday supplement magazines. It was the work of the Magnum photographers that drew me to the power of the photographic image. Especially Don McCullens work, which was mostly from areas of conflict. My personal journey began however, at a much more commercial end of the spectrum, and it has only been in the past five years or so, that I feel that I'm coming to grips with the images I really want to make.
The majority of my personal work is currently based in nature and landscape. I'm not sure why I'm driven so much in this direction, but the texture of grass, wood and rock, the meeting of sky with land or sea, resonate within me. Mother Nature seems to be the best artist, and I generally feel as if I'm documenting her work.
I'm currently working on an extension of this, with a project focussing on the sensory overload of contemporary city life, utilising photomontage. Having spent most of my life living in cities, I then spent two years living in a small village in India. The return to any metropolis is no longer one I enjoy, there is so much background noise. I have a secondary related project exploring the theme of encroachment on Englands 'Green Belt'.
I like to think that all my work is primarily about light - the angle at which it strikes a surface, the way this will change throughout the day and across the seasons, and the different feeling I get from these different kinds of light. Although I usually like to shoot at the edges of the day, I have also shot when the sun is at its peak, as there is a harshness to the light that has its own appeal.
When I'm lighting something artificially, I try to either enhance what available light there is, or produce as natural equivalent as possible- it's not that I don't both appreciate and love many images that go out of their way to show they've been lit, or revel in the creative use of studio lighting - it's just that it's not a path I personally choose to tread.'
Like most jobbing photographers I will shoot just about anything for a check, and to that end have shot laboratory equipment, furniture and the occasional event (my least favourite). I'm much happier shooting travel, and my personal favourite is shooting a portfolio of images that convey a sense of place.
I also enjoy shooting portraits, very specifically of actors as they can convey a multitude of emotions with the smallest of facial movements - I'm keen on the emotional ambiguity that you can register with a photographic portrait - it invites the viewer to make a decision about the feeling being conveyed.