As you will see from my portfolio, travel plays a huge part in my image-making. I visited nine countries in 2017 alone, and close to twenty since my journey into architectural photography began. I have always been fascinated by different cultures, foods, textures and colours. It is this love for travel, combined with my deep passion for photography, that keeps me motivated and dedicated to putting in the long lonely hours of research and logistical planning to then get out with the camera time and time again.
I hail from the fine city of Norwich in the United Kingdom, having spent the best part of thirty years growing up there it was a place I always returned to after travelling. Since January 2019 I have taken to the road full-time to undertake a nomadic lifestyle with my girlfriend Jade as we strive to grow a better photography and adventure tour business.
THE BACKGROUND MAGAZINE
PRODUCED THREE TIMES A YEAR, “THE BACKGROUND” IS A DIGITAL AND PREMIUM PRINT MAGAZINE THAT IS WRITTEN AND PRODUCED BY MYSELF, JAMES KERWIN. THE FIRST EDITION CONTAINS 100 PAGES AND HAS TAKEN HOURS OF THOUGHT. THE UNIQUE MAGAZINE IS PACKED FULL OF IMAGERY, TRAVEL HACKS AND TIPS AS WELL AS ADVICE ON WHERE TO PHOTOGRAPH, THINGS TO SEE AND HISTORICAL INFORMATION RELATING TO MY INTERIOR AND ABANDONED ARCHITECTURE LOCATIONS. THINK OF THIS MAGAZINE AS A TYPE OF MEMOIRS OF MY LAST FOUR MONTHS OF NOMADIC TRAVEL PHOTOGRAPHY.
Adam Stevenson won the best Australian photograph with an incredible shot of a Kookaburra watching over the devastation of the bushfires that tore through the country over the past few months. The shot is titled “That’s Nothing to Laugh About” and was snapped with a Iphone X near Stevenson’s home at Wallabi Point in New South Wales.
comes over my life when I think […] that I’ve earned my reputation out of other people’s downfall. I’ve photographed dead people and I’ve photographed dying people, and people looking at me who are about to be murdered in alleyways. So I carry the guilt of survival, the shame of not being able to help dying people.’ 
On top of a hill a few miles from Don McCullin’s house in Somerset is a dew pond, a perfectly circular artificial pond for watering livestock. Nobody knows how long it has been there; some dew ponds date back to prehistoric times, and it’s tempting to think that this one served the Bronze Age hill-fort that overlooks the site. McCullin is obsessed with the pond. For more than 30 years, whenever he has had the time, he has walked up the hill and stood there with his camera waiting for the right moment to take a photograph. Often, the moment never comes: he can spend hours there, just looking. ‘It’s as if it has a hold over me,’ he tells me when I visit him at home in early January. ‘I can’t leave it alone, I photograph it all the time. And yet I think I’ve done my best picture the first time I ever did it. I can’t tell you how.’
Stephen Shore’s images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today. 
Forman’s photo-paintings explore those liminal and in-between moments – of coming and leaving, innocence and confidence, shadow and light, night and day, absence and connection, loss and longing, and not quite the past and not yet the future. Portals, both real and metaphorical, frequent her layered, complex and often dreamlike images.
Her work is recognized for imbuing harmonious compositions and for her explosive use of color, light, and shadow.Forman’s images elicit emotions of desire, vulnerability, and a desperate longing for connections.
With imagery from the likes of David Bailey, Duffy and Terence Donovan, designs from Peter Blake, David Hockney, Gerald Scarfe and fledgling artist Ian Dury plus words and opinions from those riding high on the city`s cutting-edge, London Life remains the coolest document from the capital’s most exciting period.
Boomers Daily 