About the Author
In1969 Roger was offered a post as a photographic printer and photographer in the Graphic Design Department of BBC Television Centre at White City, West London where he also learned all there was to know about Television Graphic Design from the top designers of the day. After five years with no promotion and poor pay, he decided to look elsewhere. His applications resulted in an offer of a partnership role with a popular and thriving Fashion and Advertising Studio practice in Perth, Western Australia. His cousin, who was an RAF pilot, and now a senior pilot flying for TransWest Airlines out from the mining town of Kalgoorlie, provided an additional documentary opportunity photographing mining cultures in the Nulabor desert. New Zealand Television had been tracking him for some time and offered him a lucrative senior position of Supervising Photographer for South PacificTelevision in Christchurch which he accepted. He remained there for five years, and after he had trained up several New Zealand staff his active photographic role thinned out. He decided to purchase a sizeable piece of land and built and ran a studio pottery business. After getting married, he and his wife travelled back to the UK in 1979 where he was offered a post as a Senior Lecturer at St. Albans College of Art and Design. He taught photography on the Fine Art, Graphic Design and Model Design Courses. He was then selected to exhibit in a Kodak and Eastern Arts Council sponsored touring photographic exhibition entitled ‘Architecture and Conservation in Hertfordshire.’ His own experimental research into finding a daylight method of creating an image that offered a seamless transition between the photograph and a painting led him to write an article for the British Journal of Photography. He had discovered the old dusting-on photographic process that used bees-honey, potassium dichromate and gum Arabic to create a sticky emulsion. This would harden when exposed to UV light. So, placing a photographic transparent film in contact with this and exposing it to a UV light source left a sticky image of the photograph. Then Roger applied coloured pigment in the form of fine powder. It was finally sealed by exposing the whole image to UV light. He turned down an offer to study for his PhD based upon this discovery due to financial constraints, and took USA giants Dupont UK Ltd. offer of unlimited financial support to experiment with painting and photography through their ‘Cromalin’ print proofing process that offered a similar and safer method. Within a year this led to several solo exhibitions in London and secured his award as Fellow of the British Institute of Professional Photography and later to his Masters Degree.