In 1998 I discovered if I was careful I could still stitch overlapping pictures using a hand-held camera. Each panorama was taken on film, scanned and stitched using early VR software. - An intensive and time consuming effort. I managed to persuade art directors at the Tatler and Talk magazines to finance my first efforts. The Evening Standard then began using one every week. When the editor changed I switched to the Telegraph thanks to art director Jason Shulman and for an amazing period I was on a roll doing one every week surviving 4 different editors.There is a random-surveillance aspect to some of the images as it is not possible to compose in the usual way. I like the feeling of time-passing and cinematic movement. I did as little manipulation as possible although the whole process was a form of manipulation. I was trying to capture the atmosphere of everything that was going on at social and celebrity events and thought this was the best way to do this.