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About Tim Myers

For as long as he can remember, Tim has been fascinated by the art of photography. For him it provides the perfect combination of art and science, requiring both the precise calculations for light and shutter speed and an anticipation of how changes in weather are going to transform the view of a landscape.

Despite making a career in computers, Tim is most at home with film. In recent years, he has progressed from 35mm to medium and large format cameras. The large format in particular offers some material advantages over smaller formats; namely the transparency is larger and therefore any enlargement factor is less, which leads to a higher quality print, and the cameras offer movements which allow the photographer greater control over the perspective in the scene. However, the large format camera also encourages a slower way of working, thus allowing the photographer to review and contemplate the scene before finally committing it to film.

Having experimented with a range of subject matters, Tim found himself drawn to the myriad of possibilities provided by the built and natural environment. He uses light on the landscape to illustrate shape and form and to provide dramatic and colourful backdrops to seemingly ordinary scenes.


“Photography, to me, is about capturing the essence of what I see in front of me and conveying that essence to others in ways that may not at first have been apparent to them. I’d like to think my images are inspirational: maybe as an introduction to a landscape as yet unknown, or a reminder of an area once visited and loved. The use of light to illustrate a strong form or shapes is very important to me.”

“People often ask me about the film versus digital issue. They tend to assume with my background in computing that I’ll be a huge digital advocate. Digital photography has its place, there are many fine images made with digital cameras, but to me the essence of photography is the film: the preparation and care of it, loading it in to the camera, the smell and feel of it. For me, film has more soul than digital – getting your images from a digital camera is just like plugging in a toaster.”

“I’m now making most of my images on a hand-made wooden field camera. It’s slow to set-up and can be unwieldy, but this helps me become more involved in the scene and helps me make some very evocative images. Prints from transparencies made on this format have a commanding presence, which I feel matches the impact that the original landscapes have had on me.”


Tim was recently interviewed by Claire Cooper

Profile of Tim Myers
Settling ourselves into one of the wickedly decadent rooms within the Lady Lever Art Gallery is a good start to what I soon realise will be an enjoyable meeting. Tim Myers is relaxed and ready to talk about himself, although he does not lack modesty. He looks a little embarrassed, albeit pleased, when I compliment him on the stunning colours he achieves in his photographs. Clad in a pair of faded jeans and white shirt, with Tim Myers Photography stitched onto the breast pocket, he shifts slightly in his seat, tucking a cowboy booted foot under his leg.

As a Wirral-born and based photographer he knows and loves his area as much as the people who come to him to recreate their memories through photography. Ever since his father taught him how to use a camera, making images has been a passion. On his website, Tim Myers Photography, he writes: "Open your eyes to the landscape, to the beauty and form of the scenery."

Born in 1973, Myers credits the evolution of his own style to around 10 years ago when he started using a large format camera. He is not impressed with the digital revolution and imagines he looks an old-fashioned sight photographing in landscapes with a dark cloth draped over his head. He says: "With digital photography there is no involvement but with a large format camera the process is very slow and you don't actually hold the camera." He believes an image is an extension of his personality, and you can imagine that Myers puts his all into every one he creates. That said, he claims to never be totally happy with any photograph he takes. He does not just photograph on the Wirral but has also explored landscapes in Yorkshire, North Wales and Scoland. The latter is a place which he would particularly like to go back to.

He is in the business of demonstrating an area's beauty and potential and realises that to some, Merseyside is not the first place where people think these things can be found. On presentation of a Myers' image, this judgement is proved wrong. He attributes his distinct look, partly to the fact that he uses slides and not negatives on which to print his images. He believes photography is a curious combination of both science and art, because you are working with such a precise and unforgiving media. To understand photographic subtleties is a hard-earned skill, yet he would not call his work fine art as he believes the term is used randomly and indiscriminately.

It is refreshing to meet someone who clearly loves what he is doing and what strikes you is how Myers is so excited by what the future has in store, but is not put off by the challenges. He says: "The next six months are crucial. They are the breaking point." His hope is that that his business will continue to thrive. He softly says that Margaret his wife, is invaluable and that the business would be nowhere without her. "Margaret takes far better pictures of the kids than I do," he adds.

He is no stranger to exhibitions and in 2005 put together Light by North West with other local photographers, which he says was a success. At the moment he has a couple of pieces displayed in the Wirral Spring Art Collection which makes him feel proud, but is quick to point out that this is not the reason he photographs. The big plan for June is an exhibition of his work at Dee Fine Arts but he has no illusions about how hard it will be, especially considering that he and his wife are expecting their third child. He hopes the new exhibition will expose his work further and set him on the right direction. He is also hoping to hold an exhibition of his own work early next year. He has some idea of what he will display but says: "People have asked what my favourite photograph is and I say it's the one I'm going to take next." He adds that some of the images he feels particularly attached to, have been taken with James, his six-year-old son by his side.

Myers is completely self-taught, with a plan to extend his art and science to other people. In March he held a workshop for amateur photographers and says that he is planning another one, possibly near the time of the Dee Fine Arts exhibition. He says: "I don't really know if I see myself as a teacher but I'll give it a go."

He cites one of his influences as Joe Cornish, someone who has worked a lot for the National Trust. He says: "Joe is an exceptionally talented photographer whose work is often imitated." He says that creation, not the emulation of images is the key and that too many times he himself has been on workshops where people try to copy a well-known piece. He says: "You have to listen to what the landscape is trying to tell you. Don't go out expecting something because that's all you will find."

Myers knows the market is hard but he would like to get to a point where he does not have to support the landscape photography by other means. He hates doing weddings. It is possible to imagine Myers getting to that point despite still facing challenges from even his most frequent customers. He is still trying to make a woman happy who responded quite bluntly to one of his commissioned efforts saying "I'm sorry I don't like it". He still has not captured the gates the woman walked past as a child, but says the balance of marrying someone's idealistic image with his own artistic one, is tricky.

It is clear that Myers is tenacious and ambition shines through. When he talks about exploring other landscapes like Tasmania he gesticulates with passion and says that there is so much he would like to do. It is easy to conjour an image of Myers huddled underneath his dark cloth in a dry and unforgiving terrain, but says for now, he is happy to continue exploring what the UK has to offer.


Profile ©Claire Cooper