Andy Martin Q&A - Night Photography | Long Exposures | Sunday, February 21, 2010
Andy Martin is probably best known for his long exposure night photography on Flickr. He's able to create amazing compositions by finding the beauty in seemingly undesirable areas of Sunderland
Images from Andy's Flickr stream have been incorporated in to the post in no particular order or relevance to the questions and are just a small sample of his creative eye and talent.
1) Please state your full name
Andy Martin
2) Current occupation
I drive a white van for minimum wage, unfortunately. I get to drive an 1820's steam engine throughout the summer months though, so I suppose it balances out. Although the pay is equally as rubbish.
3) Where are you currently living
Sunderland
4) What's your age
25
5) What do you like about photography
There's a certain magic, particularly with shooting film. It's hard to describe, but I love the endless creative opportunities that go with it. Other than that, the smell of film, being under a red safelight, and that excited feeling you get when holding a transparency up to the light for the first time.
6) How did you get started
See Question 9
7) Would you like to be a full-time photographer
Well, yes – it would be great to be paid for what I do but it depends on the manner of photography of course. I wouldn't wish to shoot weddings, school children, or cruise ship portraits. I'm not sure if there's any market to make a living from the kind of work I do, it's possibly a little too obscure. We'll see.
8) Which countries would you like to visit for photographic opportunities
Japan, definitely. It's somewhere I've wanted to visit since I was young, and to photograph it would be immense. The architecture is very interesting, and the lights at night seem to have a different quality to what we have in the UK. Other than that, the US, Australia, various Scandinavian countries, and large parts of Eastern Europe. Quite a lot really.
9) At what age did you become a photographer
Well, I'd not class myself as a photographer in all honesty, but for the purpose of the interview, and not to appear awkward… I took lots of photos when I was young. Around 6 or 7 years old I got a little point and shoot camera from Boots from my grandparents (and still have it). I took photos when I could but we didn't have too much money when I was young so film processing was a problem. So I used to go round and take photos without film in the camera. But I didn't really start taking things seriously until about 8 or 9 years ago when I started college...
10) What inspired you to become a photographer initially
Well I got into it seriously once I started college in 2001. I was doing an Art & Design course, and photography was one of the modules. I was fortunate that it was before digital had really become as mainstream as it has done so everything was Pentax K1000, black and white film and of course the intrigue of the darkroom. I was hooked from the very first minute, and seemed to have a natural eye for things which certainly helped.
11) Who or what inspires you now
I tend not to ‘idolise' or follow other photographers too much, preferring to do my own thing. But there are many wonderful photographers on Flickr as you well know, Ursula Pfitzer is one who I have a great deal of respect for. Her photos (all shot on film) have a certain appeal and quality to them that I don't see as much with anyone else. She shares my obsessive film fetish too so there's always plenty of geekery to talk about. Jack Delano's 5x4 Kodachromes (shorpy.com) are sublime. Tom Paiva (brother of Troy) and some of Robert Vizzini's work is right up my street too. But as I said, I try not to draw too much influence from others. Because it always shows. Originality is best. O Winston Link deserves a mention also.
Other than that, I think I've subconsciously drawn a lot of influence from old B&W movies. The Third Man, Metropolis, Streetcar – films along those lines. More often than not I'll be observing the lighting and cinematography when watching a film. And with my work being primarily Sunderland based, local music tends to be the soundtrack to my photos. Not a conscious choice, it just always seems to fit together well.
12) Why film photography and not digital capture
Well as said previously, I think I was lucky to have been started off on film – I was hooked immediately with the whole process of it. Had it been digital I doubt I'd have immersed myself in taking photos the way I did. Nothing against the medium, I do occasionally use it for certain situations but it's just too easy, too convenient and too samey. For me, they are two totally different mediums, each with their own merits and downsides. But film is real. Film is honest.
13) What does film offer you that digital capture doesn't
A challenge, and a drain on my bank account. But I don't mind at all… In terms of night photography, the ability to take longer exposures without sensor/battery/noise issues. And then there's the age old quality debate. I personally think 6x6 or 5x4 transparencies are far superior to anything digital. Film doesn't have that over sharpened smooth look which puts me right off digital. And it can be very unpredictable at times, which is a good thing. Colour shifts and reciprocity failure can ensure that that photo comes out even better (or worse, but rarely) than you could ever have initially imagined. In addition to that, there's an unlimited combination of films, cameras and setups where I think with digital you're very limited. All the photos look near enough the same, clean, crisp but a bit soulless. Like a page 3 model. Sure, you can spend hours post processing them to make them look better but where is the fun in that? I'd rather spend my time taking the photos. All my shots are fresh out of the camera, after a bit of dust removal of course which is where the time often goes. But I enjoy that…
14) What's wrong with photography today, if anything
Maybe not so much photography, but the post 9/11 society we live in makes people very suspicious of others with cameras. Why, I have no idea but maybe you can blame media scaremongering to an extent. Ironic when Google Earth ensures you can see near enough the whole world in a great amount of detail. Other than that, the discontinuation of a number of lesser used films in recent years. Sad times indeed.
15) What do you find most difficult/challenging about photography
Taking photos in daylight.
16) Do you have any goals for 2010
Just carry on as I am, January has been very productive so far with February looking promising so far. Lots of photos taken which I'm pleased about. I'm aiming to take more people photos too, something I've neglected for too long. I'm also looking to do my own E6 processing at some point as the lab I use seems to be winding down that side of things.
17) Do you have anything exciting lined up for 2010
Plenty of ideas and projects in the pipeline, how it develops we shall have to see. I'd like to put out a book of my work, a lot of it which is unseen and this is a medium I'd like to exploit.
18) Have you achieved your goals for 2009
I'd say so. The launch of the ‘This is Sunderland' website was very successful and has had a lot of positive feedback so far. I ended up with a photo used as the cover image for Lucas Renney's debut album which was nice to see.
19) How much time per month do you give to photography
Hard to say really, as I have times when apathy prevails and I'm less productive than at other times. But I like to try and get out and photograph at least 3 nights a week. Sometimes it ends up being more, other times less. Life gets in the way unfortunately.
20) What gear do you use most
My main workhorse camera is a Hasselblad 500C/M which I picked up cheaply a few years ago before people cottoned back onto shooting film. It can be temperamental at times, and probably not worth the hassle it causes but still turns out some decent enough images. But I do use a Graflex Crown Graphic quite often if the situation is right.
21) Do you think ‘gear' matters
To an extent, yes. I couldn't have taken any of the photos I have with a plastic 35mm point and shoot. But it's not the be all and end all. The person using it is more important. I don't really buy into the ‘Hasselblad magic' thing either. Undeniably excellent cameras and lenses but I don't think there's a whole lot of difference between the ‘Blad and other higher end MF cameras. Other than the price!
22) Is there any more ‘gear' you'd like to own which you don't currently
Ah, plenty…lenses mainly. I've got a camera to cover every format really but lenses are where the money is. And money is not something I have a lot of. I'd like a higher end 35mm, the ones I use (Nikon F90X, Rollei B35, Olympus XA) are decent, but can be limiting at times. And maybe a higher end 5x4 camera, the Graflex is excellent with it's Dagor lens but has very limited movements. I'd like a Hasselblad Xpan one day too. One day…
23) You're known for you long exposures, can you please tell us what it is about long exposures which appeals to you and your process, learning curve, film preference, camera (please elaborate on this)
In terms of film, I prefer slide film. The colours are preferable to me, and it's more of a challenge shooting transparency in a night time situation. Challenges are good. And the fact that it's very difficult (and sometimes impossible) to meter at night. This meant I had to learn the characteristics of many films and lighting situations over the years. I rarely get it wrong now.
24) Whats the biggest compliment you've been paid and by whom (photographically)
I couldn't really pick one out as I get so many kind words on Flickr and via email every day from people whose work I respect very much. I got a merit award in the Fujifilm Distinctions competition (2008) which was good.
25) Where do you see your work in 5 years
In a similar vein I'd guess, but more refined, and technically better. Hopefully with a bit of recognition for my work.
26) What do you hope to achieve when taking photographs
Primarily it's to document a location, space or object. But making it look good is close behind. There's also the pleasure of showing people places and things they may walk past every day and not give a second glance.
27) Do you have a favourite photograph that you took
I'd just got back into shooting film at night after a brief digital hiatus *shudder* and was feeling a bit despondent about my abilities and photo taking in general. When I held this shot up to the light I felt a lot better about things. It's one of the most popular I've put onto Flickr so must hold a bit of universal appeal as well.
28) Do you have a favourite photograph by someone else.
This is pretty special: http://www.shorpy.com/node/1128
29) With regards to film, what's your process from camera to print/web
Colour = Shoot it, drive through to a lab in Newcastle, mince around for 2 hours or so and then pick it up.
Black and white = Shoot it, load it into whatever processing tank neccessary in the coal shed in the garden. I can only do this at night as the light gets in the door. Then into the kitchen where I spill fix all over the bench which can't be healthy. Once processed, dry them in front of the fire hung on a clothes horse with home made paperclip/bulldog clip neg hangers.
Scanning = Bit of a dust and hoover round the bedroom (where I scan) then get scanning. I use those microfibre cloths from Poundland between each scan to keep as much dust away from the scanner as possible. It's far from an ideal setup, but it's all I currently have.
Once scanned I save the original and make a copy. Then dust removal, adjust levels to match the transparency or whatever I had in mind for B&W. Then resize and add a small watermark for web use.
30) Have you exhibited your work and if so where
I've had a few exhibitions over the years but it's not something that has really appealed as I like full control over the output of my work. I had a bad experience with one so called arts venue which left a bitter taste. But we'll not go into that…A good one I did have was in the no longer used Holy Trinity Church in Sunderland, I had a loop of my photos projected onto a large screen in front of the altar. Was a good experience.
31) What's your preferred mediums for print
32) Are you signed to any stock/art agencies, if so, which
No, as I said I think my work is a little to obscure for marketing purposes. I'd be pleasantly surprised if I turned out to be wrong though. If anyone has any recommendations…
33) Are you working on any personal projects at the moment.
I recently asked my Grandfather (88 years old) to write down any memories he could recall from his childhood growing up in Hendon (Sunderland, and a place where a lot of my photos are taken). I put them together in a short book with a selection of my images and also some family images, it turned out really well and he was delighted with his copy.
34) Are there any anecdotes about nigh time long exposures you could share - scary encounters, or perhaps the tranquillity you enjoy.
Ah, too many to mention! There's rarely a dull night when taking photos…Over the years I've encountered people dogging, drunken charvers (chavs to those down south), scary old tramps, rats, owls, bats, I've been chased by dogs more than once and have stood in dog shit more times than I care to recall. The perils of wandering round in the dark... But it can be very peaceful and beautiful, like up in the countryside under a full moon with nobody for miles. Or on a deserted beach watching meteors fly overhead. Things are very different at night.
35) What' do you like the most about night photography
The mystery and surprise that the photos rarely turn out how you imagine them. And the colours are amazingly unusual at times.
36) Do you have a favourite subject/place to photograph
Hendon, a part of Sunderland full of industry, interesting characters and many ghosts of the past. And also somewhere the majority of my family were born and bred, there's a definite link to the place.
37) What's your favourite film and why
Too many to choose. For colour, Fuji T64 was my main film of choice when I started out but since it's been discontinued I've used a lot of other films more often, mostly transparency for night stuff. Velvia 50 at night is a challenge, it doesn't respond well to long exposures unless they are very long, but done right they are worth the trouble. Black and white? Much the same, I like 100ASA films, Delta 100, Tmax 100, Acros 100. Pan F shot at 25 ISO at night can be beautiful in the right conditions.
38) If you had to choose one camera, one lens and one film (if you choose film over digital) to work with solely for your own purposes, what would they be and why
If I could afford it, I'd probably buy a Pentax 67. Good compromise between the quality of MF and the portability of a hand held SLR. Lens? Not too hot on what's available but something fast. And film would be Provia 100F, to cover most situations.
39) Do you have any plans to start taking photographs for a living
Not currently, but I'd like to get paid for what I do. Might happen one day…
40) How do you relax
I drag race old Volkswagens with souped up aircooled engines, there's a certain thrill in driving a car designed 75 years ago far faster than is healthy.
41) What excites you
The smell of film. Haha!
42) What's your favourite Flickr group
The ‘Film is not dead it just smells funny' group has a excellently high standard of photos. And all on film of course.
43) What's the best thing about photography
The waiting. Waiting for the long exposure, waiting for the film to process, and waiting for the scanner to finish. The anticipation is immense, and the images are always rewarding and highly satisfying.
44) What don't you like about photography in general
45) How would you like to be remembered
Just…as someone who loved his hometown and ideally as a half decent photographer. But I've a way to go yet.
46) What advice would you give to someone looking to buy a camera
Try before you buy. And make sure it takes film.
47) If someone would like to see your work, where can they find it.
There's my Flickr stream - http://www.flickr.com/photos/interzone-inc/ - which has the latest work, www.this-is-sunderland.co.uk has the most extensive selection of film work from the last 5 years and for a bit of variety www.interzone-inc.net showcases a lot of night photos I took on a 5 megapixel compact camera. I still like a lot of that work despite it's limitations.
48) Can you send some examples of your work as low-res JPG's (500pixels)
Feel free to take any from Flickr or the TIS site, as long as the watermarks are left on them that's fine. If there's any specific ones you'd like me to send over then let me know.
49) Do you have anything else you'd like to add
Thanks for the interest in my work, and I always look forward to seeing your shots on Flickr. Keep flying the flag for film photography!
Edward Olive Q&A - Fine Art Film Photography with a Soul | Thursday, January 28, 2010
I've been following Edward's work on Flickr for a couple of years and have been inspired by his use of analogue film and the distinctive 'look' he is able to achieve with his photography which is always 'as shot' with no digital manipulation other than the removal of dust or scratches from the scans. His purist approach to photography and ability to capture raw emotions, beautiful bokeh, subtle textures and vivid colours, using a host of analogue film cameras, is a tribute to the art of photography.
Images from Edwards Flickr stream have been incorporated in to the post in no particular order or relevance to the questions and are just a small sample of his varied and extensive portfolio. Perhaps Edward is most known for his erotica and the unusual places he's privileged to access while shooting weddings for the rich and famous. However, I've chosen a selection of images which personally inspire me, some of which are erotic but most are not but still have a sense of magic and soul. Sure, I've looked at his photos of sexy women scantily clad wearing little or nothing, more than was strictly needed, but I get drawn in to his images which offer more than expected, perhaps in their subtlety or striking play with colour and/or tones. I also like that his images seem 'authentic' with their inherent graininess and sometimes imperfections; it all adds to the beauty of his imagery.
I asked Edward if he would be willing to do a Q&A with me, his reply was "yes as long as you can have irreverent answers". I wasn't surprised that his answers were, at times, as strong as his work which is without compromise. Below is the transcript from the original Q&A.
Firstly, thank you for taking the time to answer these questions Edward. You're welcome to answer any/all of them. Please reply informally. You may be as irreverent as you like and express strong views if you have them. Some of the questions are 'loaded' to evoke a response while others are ambivalent to allow you to elaborate.
1) What's your full name
Edward Olive
2) Current occupation
Screen actor and wedding/ fine art photographer
3) Where are you currently living
Madrid Spain
4) What's your age
Far too old
5) Why wedding photography
It just happened
6) How did you get started
By accident.
7) As a full-time photographer, which countries do you work in
In Western Europe at the moment but I should look at widening the field. Parochial is pointless.
8) Which countries would you like to visit for photographic opportunities
All
9) At what age did you become a photographer
About 4-5 years ago
13) What does film offer you that digital capture doesn't
People either see it or they don't.
14) What's wrong with photography today, if anything
1. Digital cameras.
2. Perhaps due to reason 1) above - zillions of generic photos that lack soul.
3. The predominance of the generic in the media, advertising, press.... If you look at photography 50-70 years ago the level of talent, technique and quality was far higher. They were real photos taken by real photographers.
The industry is now dominated by the low budget photographers and/or nepotism and the who-you-knowers. The best photographers are the amateurs on flickr taking shots just for themselves, experimenting and improvising with all sorts of crazy cameras, lenses, films, techniques, model direction, image capture, lighting, colors, contrasts, layering, framing and generally wonderfully creative anarchy and uploading them to the web as a hobby. They are the real photography movements, not the cr*p you see in magazines from the talentless pros who have somehow got in cahoots with magazine directors and the ad agency pretentious in some dreadful anti-competitive anti-artistic dictatorship of mediocrity and repetition or from actually once talented pros who just now don't bother to make the effort.
15) What do you find most difficult/challenging about photography
Trying to take a decent picture is really hard whoever you are. To create an original, unique image, without simply trying to photocopy someone else's image.. . without repeating yourself, or if you do by reinventing or adding some new element that justifies the image's existence... that says something to people and projects your own personal style and through which your personality, feelings or views can be discovered without dictating to the spectator is very, very difficult.
This is of course talking strictly about the photography, for business the only thing that matters is knowing the right people and fame. Any attempt at originality or personal concepts or any of the above mentioned elements will count against you or count for nothing.
16) Do you have any goals for 2010
My aim is to concentrate on the pictures. If I just run after any old job going my work will be compromised.
I want above all to take the best pictures I can.
If really good clients come my way proposing really great jobs where they let me take the best pictures I can I'll take them. The rest I'll pass on and undertake personal projects and to get my pictures out there.
17) Do you have anything exciting lined up for 2010
Whatever I have lined up is what I have. I am looking beyond that. I will see where I can take things.
18) Have you achieved your goals for 2009
I am never self satisfied.
I need to up my game on the quality of pictures, their critical recognition, their media and gallery presence and their business success.
19) How many days per month do you work
Personal life and personal projects and commercial ventures merge, day and night merge. It all blurs.
20) What gear do you use most
I like all types of real film cameras from fit in the pocket AF or zone focus compacts to all auto reflex cameras with fast lenses, AF rangefinders, to medium format 645 and 6x6 cameras.
I use them all depending on what I'm doing and how I feel. I also change the kit now and again to give my work a new angle or a different look.
I went through an all no thought compact slow lens everything in focus wedding stage then an AF rangefinder medium speed lens “thoughtful” period, then back to my usual AF reflex with superfast lenses and now I'm feeling only like using medium format for jobs, taking the view that I would prefer to have fewer pictures but bigger and better ones that I really had to think about when I made them. I have also gone through square and panoramic phases and am now thinking in 645 mode when I look at the world. I will be using some Mamiya M645 1000s with 220 and 120 color, slide and black and white films with Mamiya Sekor 80mm f1.9 and Pentacon Six Carl Zeiss Jena lenses and Originally Hasselblad V series lenses adapted onto the Mamiya 645 bodies. Obsessive compulsive nonsense really.
21) Do you think 'gear' matters
Of course.
To win a world a formula one you need the right car, the right tyres and the right driver. The right driver alone won't get far in the rain on slicks and my mother won't get far in a Braun GP whatever tyres they put on it on the way to Sainsbury's to buy her favourite soil association organic vegan biomilk.
You need the tools of the job to be able to express yourself properly and the right tools for each job. A compact camera with superfast lens can be wonderful for social reportage work but no good for a client's macro still life shoot, nor for long distance high speed sports journalism.
22) Is there any more 'gear' you'd like to own which you don't currently
No.
I have far too many cameras it's just ridiculous. I am far too obsessive and should get a life instead of more cameras.
23) What's the strangest request you've been asked (photographically)
To take naked pictures of some lady to send to her ex boyfriend who had dumped her was amusing, but I knew from the tone of voice what she was going to ask.
To go to someone's house to shoot them so they could upload a picture to a dating website because the client thought he had seen the woman of his dreams in sexyornot.com was again an assignment to take without entering into reasoning.
24) What's the biggest compliment you've been paid and by whom (photographically)
I am ever grateful to the people who can understand what I do and who go out of their way to write to me. It helps me to get through the daily onslaught of just time waster estimate requesters that is the bane of a pro photographer.
There are many kind people in the world and many sensitive souls who are affected by the emotions conveyed in or provoked by artwork by myself and by others. These people are able to relate often deeply and genuinely unaffected by any prejudices such as the fame or name of artist. I would not be able to keep the motivation and self belief without the support of these people.
25) What's the worst insult someone has said to you (photographically)
Mainly I get criticism or put downs from the local wedding, baptism and holy communion photographers here in Spain. The worst send regular hate mail, the slightly less aggressive just publicly criticise me and what I do and the most pleasant just try to ignore and refuse to acknowledge my work. It's just par for the course if you dare to speak out about the general industry standards you are going to ruffle a few turkey.
I wrote to local wedding planner agencies sending them my photos this month. None even wrote back. They never will. If Cartier Bresson did local wedding photos they wouldn't reply to him either. When people do this to you you need to ask yourself why. I am quite clear why.
26) What do you hope to achieve when taking photographs
I only care about one thing. To take the best photo I can. I don't care about photos for personal memories... I never have. I don't care who is in the picture nor if you can even tell who or what it is.
27) Do you have a favourite photograph that you took
I don't rank my pictures but flickr has a useful tool that does. It is not exact but it gives me a few ideas.
http://www.flickr.com/photos/edwardolive/popular-interesting/
It shows ranking by interesting, visits, favourites and comments. The visits will always be won by non-access-limited shots of ladies, and the other categories for other reasons.
When I think I have got a decent photo or a pair of them I often upload them to the internet (sometimes privately) to see what people think. Even when I think there are two very similar and equally valid pieces public opinion will clearly favour one over the other. If general consensus favours one I choose that one I try and figure out why for the future. If none of the public can relate to a picture then I know I have made a mistake or am being boring. There are times when a very few react but that the few who do are people of such levels of talent and discernment that I value their opinion. There are pictures that have universal appeal and those that have connoisseur appeal... and those that are rubbish and nobody likes (they get destroyed).
28) Do you have a favourite photograph by someone else
No. I like a lot of people's pictures sometimes and a few people's most of the time.
29) With regards to film, what's your process from camera to print/web
I use pro labs rather than do my own development.
I do scan myself all fully automatic straight with no adjustments or fancy programs to remove dust etc – just straight scan as is.
I do my own post production work that includes only very slight light levels adjustments and dust removal on scans. I have no further computer knowledge nor any interest in computer generated special effects that are so popular these days.
I also use pro labs for printing. I suppose I am lazy and not genuine enough. I should be more authentic like Jordi Gual http://www.flickr.com/photos/jgual/ who develops even slide film and prints everything by hand personally.
30) Have you exhibited your work and if so where
Recent exhibitions
2010 - Citypulse Sensual - Galería Moro - Santiago de Chile – Collective exhibition
2009 - Hasselblad Masters 2009 – Copenhagen, London, New York, Hong Kong,– Collective exhibition – wedding photography
2009 - Citypulse Stop making sense (lomography) - Galería Moro - Santiago de Chile – Collective exhibition – lomographic photography
2009 - Citypulse Biosphere - Galería Moro - Santiago de Chile – Collective exhibition – urban photography
2009 - Photoespaña PHE “El agua de Madrid” – Madrid - Collective exhibition – fine art photography
2008 - “Rioja en los Sexto Sentidos” – Bodegas Franco Españolas – La Rioja - Collective exhibition –social photography
31) What's your preferred mediums for print
Options are endless now though at top pro labs. I often just do the prints and leave the framing up the clients who will take decisions according to the colour schemes and woods used in their houses.
32) Are you signed to any stock/art agencies, if so, who
I am in Getty Images. They take 80% of the profit from usage. I make 20%. They are clever. I'm a sucker.
33) Are you working on any personal projects at the moment
Female nudes as always. Tomorrow I am going away for the weekend only to take nudes. A change from weddings for once.
34) What do you dislike about working with clients the most
Working in the wedding market is very difficult. The whole industry is dominated by the tasteless and the vulgar.
I try my best to select clients with taste, style and class, therefore avoiding any problems like complaints about the artistic nature of pictures, the slightly higher than average price of pictures etc. etc. Thorough elimination processes include telephone and face to face interviews to try to pick clients who actually understand what I try very hard to produce... clients with emotions... who can relate to pictures... who can value them either for objectively or technical reasons or subjectively for aesthetic and personal reasons. This doesn't just make life less stressful it also makes sound financial sense. My pictures don't sell best necessarily to the most affluent clients, they sell best to the clients who are the most sensitive emotionally... they don't think in vulgar terms of X$ per photo they see people important to them, fleeting moments of emotion and would remortgage their house and live on bread and water for a year rather than not have all such pictures of their friends and family. I don't sell quantities or numbers.. I sell something with emotional importance to people. I sell emotions to people with emotions. It's not img1234.tiff it's their little nephew crying under the table or their chunky best friend John Travoltaring with grandma on the dancefloor...
35) What' do you like the most about working with your clients
There are weddings that stand out amongst the dozens of weddings you do. There are clients that stand out as exceptional. There are weddings with overflowing emotion... clients that just trust you.. that just tell you to enjoy yourself and to do just whatever you think is best... that tell you just to let them know what you need and not to worry about what it's costing you.. you just do what you do best... clients that timidly ask if you can take a group shot and then accept unquestioningly when you tell them its not working. In spring 2008 I did the best wedding I have ever shot... by far the best wedding. It was just a wonderful wedding. Everything was just like a dream.
Their pictures went to every magazine and exhibition and got me nominated as Finalist in the Hasselblad Masters 2009 Wedding and Social event photography category. I wouldn't have got nominated if I hadn't been lucky enough to shoot the wedding of Ruben & Silke.
http://www.blurb.com/books/219982
I have seen a lot of weddings but I still remember every minute of theirs. I had never had a wedding like theirs before and I'm still looking for the next one. Perhaps it was the only one. Perhaps there never will be another.
36) Do you have a favourite model
Yes, for personal as well as aesthetic and photographic reasons.
She was featured in my “Private Collection” published at the end of 2009
http://www.blurb.com/bookstore/detail/1096026
37) Is there anyone you'd like to shoot (photographically, or with a gun for that matter) that you haven't so far, who/why/where.
All important people would be ideal models I don't care whether it's Bill Clinton or Madonna. They would all be perfect for pictures and for business.
38) If you had to choose one camera, one lens and one film (if you choose film over digital) to work with solely for your own purposes, what would they be and why
Please don't talk to me about digicameras. I have no interest in such things
I make no secret of the fact that my best pictures by far up to end 2009 were taken on Hasselblad v series (500) cameras with Carl Zeiss t* lenses on expired film. However for personal reasons I will be changing cameras for 2010 using medium format rectangular Mamiya m645 1000s set up. See http://www.mamiya.com/assets/pdfs/645/M645_1000S_v4.pdf and 6x6 square Pentacon Six http://www.pentaconsix.com/ instead.
39) Do you have any plans to stop taking photographs for a living
If my screen acting or presenting work takes off again I will reduce further the number of photographic assignments I accept for new clients. I am already being much more selective about the people I accept as clients.
40) How do you relax
To be able to stand the daily grind of replying to endless emails from people that only ask how much (money) and how many (photos) in relation to potentially hiring you is quite simply dreadful. I rarely receive emails discussing artistic elements or with emotionally or aesthetically based queries. Having worked in the wedding business for several years now I have learned its all about low price and bulk volume for all but the very very few.
The only way you can handle this is to spend time and money on relaxation. I switch off my phones and email; spend time most days stretching and in the spa at the gym; I dance, run, swim, listen to music and spend time at my lady friend's house where I don't allow any form of electronic communication from anyone related to work. Anything to put the hagglers to one side.
41) What excites you
42) What's your favourite Flickr group
Palabra!
http://www.flickr.com/groups/palabra/
run by Mackeson
http://www.flickr.com/photos/77053677@N00/
I also think Film is not dead it just smells funny http://www.flickr.com/groups/onfilm/
run by Frans Peter Verheyen
http://www.flickr.com/photos/8804856@N02/
and its associated project http://www.thiaps.com/
is very important not just in promoting talented new photographers but in supporting the use of genuine film photography.
Whilst not strictly a group I wholeheartedly support the Citypulse photography project on flickr organised by George Lever for the critical selection of really wonderful photographers
http://www.flickr.com/photos/22688867@N00/ and associated web http://www.citypulse.co.cl/
43) What's the best thing about your job
There is nothing better in Spanish weddings than Jamon Cinco Jotas http://www.leadingbrandsofspain.com/food/cinco-jotas/ or perhaps even better Joselito http://www.departures.com/articles/most-delicious-ham-in-the-world. If I find the guys slicing it fresh right in front of you I know I won't touch anything else. If accompanied by a really top level Gran Reserva Rioja or Ribera del Duero things are really looking up. I am still waiting for the off the scale wedding with Pingus http://www.rarewineco.com/html/impo/spai/d-ping.htm.
High or very high level Weddings in Spain and France are generally a true pleasure gastronomically.
My experience of UK weddings however is very different. The catering at the highest possible level is of course stunning but the food in the rest of weddings can be absolutely uneatable, the wine undrinkable. These things are actually very important if you are in the middle of nowhere with a long 14 hour high pressure day of work to get through. I take dried fruit and nuts and a bottle of water to jobs just in case and there have been times it has been the sine qua non for late night picture focus and for the patience required to deal with the wedding people who by then are often so leery and so drunk they can hardly stand up and suddenly think they are Cary Grant and want o pose for pictures .
You can abuse your body occasionally and get away with it but if you are back-to-back wedding travelling every weekend from spring to autumn you need to look after yourself. Having endured sleepless nights in noisy cold fleapit hostels queuing up in my towel for the shared shower room down the corridor) I had been booked into by wedding couples (when all the rest of the guests were in the local 5* GL) I have now changed my contracts to stipulate that I pay for and book all my own travel arrangements. I go first class on Spanish trains (which is wonderful) and sleep five stars and GL if there is one. It's not being a snob, its looking after what are your main business assets (before cameras, lenses or computers) your mental and physical functioning. I need to be able to sleep all night without hostel drunks the other side of cardboard walls keeping me awake all night before shoots and cannot have flu at work from cold, damp drafty rooms or backache with camera bags from soggy beds that cave in the middle. I now try to turn work into pleasure, giving some sense to it all, turning trips into part work part short break on the beach, int country or skiing. If you are strict enough about the prices you charge and the people you accept working for being a travelling wedding photographer can actually be fun. Most of my erotica is produced and subsidised by taking advantage of exotic locations and glamorous hotels that I am now lucky enough to have coming part and parcel with the upscale weddings. I also put my personal films in to develop with work film and so don't worry so much about spending so much on my personal pictures.
My last series of nudes was all shot at night in a luxury hotel's lifts, corridors and stairways dodging the security cameras and the other hotel guests.
44) What don't you like about your job
Having to talk about money with clients or potential clients. It dirties the art and the longer you have to spend talking about it the more the art suffers for that client in particular and for your artistic output in general.
When I work as actor I just get called by the agent, sent to casting, hired or not, told when to turn up and the lines to learn and receive a cheque after. I leave all the arguments about money or hours or terms to the agent. I have no interest in knowing about that. The agent does the best they can for me and that's their job. They do it well and I can relax thinking only about the artistic stuff like getting to understand myself as the character from within. If I move up the success ladder I will get someone who can deal with all the cr*p leaving me to just enjoy doing the photos.
45) How would you like to be remembered
Nobody is going to remember me.
46) What advice would you give to someone looking to become a full-time wedding/portrait photographer
Ask yourself – do you have something new or different to say or can you say it in your own unique way? And I mean really.
Google searches are full of grey generic wedding photographers falsely advertising themselves as unique, artistic, different, natural, unposed... blah blah... you click on the site and one is the same as another. The market is saturated with the stuff. Lined up posed say cheese group shots and fake caramelised fake bent over backward bride kisses for the camera.
Then ask yourself if you do really believe in the importance of your own work are you tough enough to spend years having people dismiss you, choose others instead of you, criticise or refuse to hire you for charging a fair price for original artwork....
47) If someone would like to see your work, where can they find it
http://www.google.es/search?q=edward+olive&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:es-ES:official&client=firefox-a
Even better if they really do like it they can own it:
http://www.blurb.com/bookstore/detail/1096026
I have always said if its free or cheap – nobody will value it.
48) Can you send some examples of your work as low-res JPG's (500pixels)
Take anything you want from flickr
Taking these pictures is hard. Getting people to understand them is even harder. I need al the help I can get to take this to the next level. Only from kind support from people such as yourslef will my pictures get where i want them to get
