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Henry's interest in photography in many ways paralleled his painting. An early interest in the 60s was rekindled in the mid 80s when, after a phase of taking some colour slide films, he took up black and white photography again when Becky started learning developing and printing from a local photographer Jeanne Hampshire. They set up a rudimentary darkroom together, and learned together how to develop and print film.

From then on Henry would find that the 'photographic eye' was complementary to that of the painter's; the visual stimuli for the painter was different to that of the photographer. This intriguing difference was a source of inquiry into his theories regarding the development of visual language. 

Life at Newhall was recorded through his lens from the mid 80s, and at Tintagel the ever-changing atmospheres of the cliffs and sea are extensively recorded. 

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