Poston took photography as his second subject at Hornsey so he could support his jewellery with additional visual context. This places him amongst the first to experiment with what soon became something of a preoccupation in avant-garde jewellery. His interest lay in working with available light (‘largely for pragmatic reasons...a consequence of being unable to afford a flash!’).
This skill proved to be equally useful for recording live performance, and led to some remarkable photography commissions at venues like the Roundhouse and the renowned 100 Club.
People saw my photos and asked me to take some for them. This initiated an interesting and useful income stream, nearly changing my professional direction.