Tell us about your background and training?
I grew up in the sticks outside Nottingham, and was reasonably late getting into photography. My first camera was an Olympus om10 film camera from the age of 19, but I was completely clueless until I studied a class in photography at the School of Arts, University of Santa Barbara, California, whilst on a exchange year from studying Biology in the UK. On that course I was first introduced to dark room printing, and being 2005 I learnt everything on film. After returning from the states and my finishing my degree in Biology I changed direction away from science, and studied a masters in Photography at Nottingham University, which was basically training in wildlife, macro and landscape work.
Tell us about your work in magazine photography
Whilst studying my masters I worked for Left Lion magazine as a gig photographer and had photos published in Kerrang and Metal Hammer Magazines. Part way through my masters I was offered the position of Assistant Art Editor for Nature Science Journal, basically working as a graphic designer/illustrator, combing my scientific knowledge with my software and illustration skills. I took the job my photography and sidelined for a while, until I started shooting photos for Ride UK Magazine.
The Ride Journal
What’s your plan for 2010 once you go FT freelance?
I hope to make ends meet by working for a few magazines and a few new clients such as ESPN, Carhartt and Relentless. I hope work on my portfolio and concentrate further on my portraits and documentary work. I also plan to do some assisting work to gain some much needed industry experience.
How important is rapport when working with riders?
It’s not essential, I have shot photos with riders I’ve just met, but that is rare. When shooting riding photos usually I am on a trip abroad or a weekend away with close friends who I know really well, shooting riding photos rarely feels like work and is genuinely good fun. Its important to know when to give encouragement, and also not too put pressure on the rider making the process stressful for them, essentially making the process enjoyable for everyone.
Tell us about some of the mistakes you have made?
I when I starting shooting medium format, I had to learn the hard way through trial and error. Shooting on transparency film there’s no margin for error but many pitfalls.
What creative tools have you found most helpful recently?
I recently invested in a decent scanner which I find reduces my overheads no end, and give some flexibility and control over the entire process.
Where do you like to look for creative inspiration?
Other photographers, video work – the usual sources. For the BMX work I tend not to look at other BMX photos much for inspiration, but instead I find myself looking through skate mags for inspiration.
What dramatic moments have you had behind the lens, or when out on a
shoot?
Crashes and accidents are a constant worry when shooting BMX photos. Just 3 weeks ago I was in Kuala Lumpur, Malaysia, on the first day of 10 day trip and one of the riders crashed and hit his head that hard I thought he could of actually die. It scared everyone but luckily wasn’t as bad as we feared.
When shooting riding photos getting booted off locations by security guards or policemen who don’t take kindly to photos being taken on private property is a daily occurence; I think I’ve had a full shake down on the anti-terrorism act about 4 or 5 times now. Carrying round a camera bag with thousands pounds of worth of equipment round estates in London, and throughout the world has its obvious security problems. I’ve had a good few near misses and made some quick getaways. Lastly, when photographing an inner city incinerator in Nottingham, I managed to get locked into a council vehicle depot surrounded by 10ft barb wire fence.
If someone were to ask you for a tip for taking portraits of strangers, what would you offer?
Its important to be respectful to the individual, you should always ask, I wouldn’t photograph anyone without a permission, if you’re abroad a simple point to the camera and a thumbs up will do. If they’re not keen, or the photo doesn’t look great just move on. Usually I’d avoid photographing strangers as their guard is usually up.
Where would you recommend people visit with their camera that could open up their eyes to something new?
