My use of photography commenced in the mid-Sixties, initially as a mere by-product of a somewhat transient sculpture practice that needed to be recorded in order to have any kind of longevity, then, by the late-Sixties, more completely as a first-order strategy. Since taking this step I have periodically written about my experience of the medium, most usually at a point of change in my work, and in so doing I have often made comparisons between photography and painting. This is partly because, having migrated from a world of three dimensions to one of only two, I feel an affinity with other two-dimensional images; but it is also because I have made use of painting within my own work, either in a literal sense at a preparatory stage, or in the form of a ready-made image incorporated as a component within my own picture space. These intersections of painting and photography don’t unfold in neat, chronological succession, but rather recur intermittently through the decades, and since the early Eighties have been joined by a further influence: digital technology. For the purpose of this symposium I intend to discuss examples of hybridised works that seek to inhabit these three territories. In referencing painting, both figuration and abstraction, the historic and the modern, may be indicated, and to this end photographic subjects might include the studio and the gallery, usually recorded by analogue means but then progressed digitally through various scanning, printing and computer applications. In this synthesised space, the warm, hands-on material presence of painting and drawing may meet the cool, hands-off remoteness of digital photography.