Which photographer is the future of photography?
After a long hiatus, photographer and producer Glen Keane has returned to his home studio in Glasgow, to continue his career as a photographer and to create new images for the next generation of photographers.
The Glaswegian, whose credits include The Sun, The Times, The Sunday Times, and many more, said: “I had my retirement plan when I was 20.
It was very simple and I was living in a very nice house with a beautiful garden and a swimming pool.
I had everything I wanted in life.
But I was looking at a number of things.
I was going to get married, have a family and be a dad, and then I started to look at photography.
I really had no idea how to get out of the studio at night, so I would go out on my bike, and sometimes I would drive myself home, because I was very picky.
And I didn’t know how to edit my pictures.””
But it was a good way of exploring my photography, and I learned a lot from it.
It’s something I would do again if I had a chance.
It made me realise I was passionate about what I do, and that I had something to offer, and it’s helped me grow.”
“It’s hard to describe my photography at the moment.
It feels very fresh, and very raw, and has that ‘gotta do it this way’ kind of vibe to it.
I just like taking my time and putting it out there.”
Keane was born in Edinburgh, Scotland, in 1970, but his family moved to the UK when he was four.
“My dad is a photographer, and when I grew up, I wasn’t really interested in that,” he said.
I would buy my own camera and shoot everything from street photography to landscapes, and stuff like that.” “
I was really obsessed with the camera when I got older.
I would buy my own camera and shoot everything from street photography to landscapes, and stuff like that.”
“So when I went to university, I wanted to go into photography, but I was always very conscious of how the camera would look and feel when you were taking it.
If it looks good, if it works, you go for it. “
At the end of the day, you just want to do your own thing.
If it looks good, if it works, you go for it.
But you have to take some risks.”
After graduating, Keane moved to New York City to pursue his dreams of becoming a photographer.
He landed his first job with the Times in 2000 and went on to work with major magazines including The New York Times, Time, Esquire, and Time, amongst others.
“But that’s when I realised I wanted more, I needed to find a bigger canvas.
I realised that the world was changing a lot and that my pictures needed to reflect that,” Keane said.
So, with the help of his friend David Knecht, Keane decided to turn his hobby into a full-time career.
“David started working on my first film project, which was an amazing thing.
We were shooting a documentary about my childhood, and there was a lot of footage in it.
You start to really feel like you have something to say, and to be able to say something meaningful.” “
It really gave me the confidence to work really hard and get better at it.
You start to really feel like you have something to say, and to be able to say something meaningful.”
Keane also worked on a film about his life, which eventually made it to the big screen.
In 2009, he won the Grand Prix for best documentary at the Golden Globes and was named best documentary of 2012.
“The documentary was really important to me.
I knew it was important for a lot to come out about what it was like to grow up in a small town, growing up with my mum and dad and me, in a house with no TV, so it was really special to be recognised for what I did.
I think it’s something that people will really remember, and people will look back and look at what I’ve done.
I feel like I have achieved something very special.
I’m very proud of what I have done.”
Keane is one of the many people to have captured the city of Glasgow from a single photograph.
In 2012, a team of five photographers captured a portrait of the city’s iconic Tower of London from just a few metres away.
Keane has been able to capture some of the best moments of his life with his new project, The Glasgow Festival of Photography.
“This project is a bit of an experiment,” he told Next Big Futures.
“For the first few weeks, I was working at the end and it was quite difficult.
“I don’t know where I’ll be in three years’ time,”
But now that I’ve got my camera on the street, I can shoot from the moment I walk out the door and into the night.”
“I don’t know where I’ll be in three years’ time,