The following interview with Norman Gryspeerdt was published in The Photographic Journal, a magazine by The Royal Photographic Society, in June 1982:

It was not until I was asked by The Editor to comment on my exhibition work that I gave the matter a great deal of thought, for on looking at the prints that I have done, there are several aspects common to them all. They are always mounted in cut-out mounts of mid-grey tone, all are printed 20 x 16in; although this is trimmed should the subject matter of the picture require it. Without exception, they are always made by the Bromoil process.

The very mention of this process immediately prompts raised eyebrows and comment, mainly due I think to the over-enthusiastic control exercised by some workers in the past, which bore little relation to reality. Time passes, and fashions change. Photography is no different. We now see work, which in many cases is very effective, although it bears little regard to natural tonal relationships.

In any graphic Art, even if not admitted, the worker must, I think, be influenced subconsciously by what he or she sees in Picture Galleries, Photographic Exhibitions, etc.

Personally I have always admired the magnificent engravings of Frank Brangwyn, RA, and I suppose to some extent, his style has governed what I try to produce in my exhibition prints.

Every year I go, on my own, to a locality where I am likely to be able to see, and photograph, those subjects that appeal to me. The hill towns of Italy, areas in Central France, the Dalmatian Coast, etc.

It is quite definitely a working trip. On my return, contact prints are made, (I work 6 x 4.5 size) from there I select such shots as I think are worthy of further consideration. These are printed as 20 x 16in Bromoils and, when finished, are put away to be brought out a week or so later for critical review. On occasions the first print is acceptable - but not very often! Notes are made, concerning possible alterations to the picture content, and a new print is produced. This process goes on until I am satisfied that the result is what I am aiming for. I have not described the technical side of the process because articles have already appeared in the Journal and an excellent book has been published.

At the appropriate time the print is sent into one of the major Exhibitions - where it is promptly rejected. Never mind, I have had my fun!