Birmingham Loves Photographers

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Lewis Maxwell Bloor

Q. How did you get into photography/what is your background?

When I was around 18 I had no real interests apart from playing in punk bands, playing gigs and DJing parties and night clubs but I needed something to do between all these things to actually make some money to live… I applied for a bunch of jobs, one of which was as a photographers assistant at a commercial photographers. I trained as a commercial photographer for 5 years, starting with large format 5x4 film cameras and medium format hasselblads, then digital backs then dSLR’s. The boss retired and I went to uni to do a graphic design degree and used photography as my main medium borrowing cameras whenever i could. I left uni and moved to Birmingham to be a designer. I realised how much the company were spending on outsourcing so I started a photography department. Product photography, specialising in watches is my day job but always having access to a camera I’d never bought one or owned my own until last year when a friend asked me to photograph her wedding and I thought I’d have a go. the week I got a canon 500D my band were playing so I took the camera along to the gig to photograph the other bands and quite enjoyed it. from there I just took it with me everywhere and just started shooting.

Q. How would you describe your style of photography?

My motto is “point, shoot, hope…”. After working as a product photographer and training to be precise while using lots of lighting set ups, I enjoy just getting to somewhere, seeing what the lighting is like and going from there. I enjoy long exposures, movement, flash, available light, lens filters and having fun. I like to post produce as I used to enjoy cross processing and using different films, I see it as a natural progression from the dark room. I know there are a lot of people that swear by film still but after 5 years of 3 trips a day to the processors not knowing if the 8 shots of the day have turned out correct there’s no love lost where that’s concerned! I guess I like my shots to be slightly whimsical and show the viewer something extra than what they might see in real life.

Q. What equipment do you use?

I’m a bit of a canon fan boy nowadays, a 1Ds III in the studio, a 60D for weddings and location and a 500D for wondering around with. I buy whatever equipment I can afford, loads of lenses, flash guns, lens filters, lights, reflectors and daft add-ons that can add some sort of creative twist to any situation

Q. Who/what has influenced your work?

The first photographer that I assisted was a bastard, but I am eternally grateful for everything he taught me, his precision was unparalleled in studio environments although his manner left a lot to be desired. I love a lot of design based photography like Alexander Rodchenko and Josef Müller-Brockmann but I’m addicted to buying photography books and trying to work out how photographers light their shots. I guess from the younger photographers I enjoy the work of Tom Barnes and my good friend Joe Watson from the band Attack! Vipers! Check out his work and his rad music! then my band… Cannons And Tanks, obviously ;)

Q. Do you have any ideas on how photography in Birmingham can be developed or ideas for events/projects?

I’ve been a little scared to come to the meets as I don’t know anyone really and don’t have anyone to go with, I guess I’d like there to be a little club or get together on a Sunday afternoon where everyone can come and meet similar people in the same situation :D 

Contact Lews on:

Website: http://lewismaxwell.carbonmade.com/ 

Tumblr: http://wentdownfighting.tumblr.com/

Twitter: @pointshoothope

Edgar Martins “This is not a House” 30 September - 24 December 2011

Exhibition at The New Art Gallery, Walsall

This extraordinary body of photographic work was originally instigated by a commission from The New York Times Magazine.  The artist was asked to create a photo-essay that reflected on the collapse of the US housing market. Shot initially in 6 US states over a period of one month, the work focuses on 16 carefully researched locations, exposing the full extent and impact of this worldwide crisis.  Martins has created a compelling series of images of neglected and abandoned houses, apartments, office buildings, golf courses and ski resorts.  The subjects are effectively contemporary ruins, and the artist knowingly plays with these associations to create dramatic, poetic and often theatrical compositions. 

Edgar Martins will give an informal tour of his exhibition, This is not a House at 12pm, Saturday 5 November

Dan du Cros

How did you get into photography/what is your background?

I started getting into photography when I was 16. Like many people my age I was introduced to my first SLR via my parents - I wanted a camera to take some pictures of my friends skateboarding (offsetting my utter failure a being any good on a skateboard myself!). My mother had a Canon AV-1 and I started shooting on that. I remember studying the manual from cover to cover, and after a few test shots I was hooked. 

By the time it came to deciding what to do at college I found myself at a fork in the road. During secondary school I had a really keen interest in travel & tourism, and was seriously contemplating becoming a ski resort rep! But I decided to go to Solihull College to do a BTEC National Diploma in Photography. It was a great course and really gave a solid grounding in the basics of photography - plus our tutor at the time (Emma Clarke) was fantastic and really supportive. She was also the resident photographer at the old Carling Academy in Brimingham, which is where I got my first taste of music photography. 

After the ND I went to the University of Central England to do a BA in photography, but after the first year I had decided that it wasn’t really for me. It was very fine-art based, which is all well and good, but I wanted to be actively working in the industry - so I headed back to Solihull College and undertook a HND in photography. I owe a lot to the the head of photography Larrie Tiernan, because unlike how I personally felt at UCE, it seemed like he really was invested in getting the most out of his students - really pushing them to find work experience and get a job in the industry. Via the course I managed to get work experience with Automotive photographer Ed Lee, as my interest had switched from music to automotive over the past couple of years. I spent a week with him at Junction Eleven studios in Banbury, learnt so much and came away from it very focused and determined to succeed in this field! 

4 years later and I am now working at Junction Eleven (and have been since finishing the HND course) as a photographic assistant and second photographer. The past 4 years working here under head of photography Manvir Rai has really moulded how I approach my personal projects - the intense attention to detail required when working here has certainly rubbed off! We’ve shot a huge variety of things from Range Rovers to kitchen room sets to multi-million pound diamond necklaces.

Over the past year or so I’ve found myself drifting back into shooting music at the weekends - more promotional material then anything else. It’s become my primary focus outside of the work at J11 and what I want to become known for - I really want to push it this year and get some stuff into magazines. That’s the side I’m concentrating on in this blog! My aim is to provide unsigned bands with affordable professional photography that’s going to get them noticed and on the whole kick their image up a notch. 

How would you describe your style of photography?

I’ve got quite an moody/dark style when it comes to my music promos, but that’s not to say it doesn’t change from time to time! In truth I’m still expanding my knowledge and I’m always trying out new things (aren’t we all?) so I find my style of shooting does tend to flow and get refined from one project to another. At the end of the day I want to create images that stand out, that make people want to look at them in detail instead of just glossing over them. I’m definitely going through a ‘movie poster’ type vibe at the moment.

What equipment do you use?

I still shoot on my college camera - a Canon 1DS MKIIn! It’s my workhorse and I know it so well I’m not sure I’ll ever be able to give it up completely. It suits me fine for the way I shoot - I’m not looking to blow stuff up to billboard proportions! At J11 I use a Phase One / Mamiya 645AFD with a Phase One P45+ back, and a Sinar P2 technical camera. 

Lighting wise I use Elinchrom Ranger packs and an Elinchrom Deep Octa softbox, with a couple of strip boxes if I need them. Quick, simple and power when and where you need it! I used to shoot with flashguns like the Canon 580ex, but found that they just couldn’t give me the power and speed I was after. 

Who/What influences your work?

We’ll stick the usual suspects here first - the Strobist blog was a massive influence when I was learning off camera lighting. I can’t recommend it enough to every photographer out there. Get the basics down and you’re set, you can apply it to everything - from shooting your cat in your living room, to CEOs of big companies. 

Influence wise I’m a big fan of Dave Hill, Joey L, Adam Elmakias and Joel Grimes. If I end up being half as good as these guys I’ll be happy! It’s a great motivator to see the amazing images that they produce, and then watch the behind-the-scenes videos that they provide and realize that there is no witchcraft involved, just an intimate knowledge of their craft. 

Contact Dan on his website:

http://www.danielducros.com/

Andrew Pilsbury

Q. How did you get into photography/what is your background?

Well photography for me came around when I was at college, when I had the intention of studying illustration. However the illustration course wasn’t what I expected, so I took a gamble with photography, which proved to be a good choice. The photography course was great and soon I was hooked, it was an interesting medium to experiment with, completely different from pencil and paper.

After college I completed a degree in Visual Communication at BCU, where I was able to continue my Photography, whilst also exploring and refining other skills in illustration and design.

Q. How would you describe your style of photography?

I’ve not fully worked out my style yet, however I do know I am always looking to improve and experiment with different techniques, which has effect on my shooting style. I suppose my work falls into the ‘Reportage’ and ‘Documentary’ but I am slowly getting more into portraits, especially old people for some reason?!

Q. What equipment do you use?

I use a Mamiya C330 medium format and a Canon A1 35mm at the minute. I stand by film and its timeless qualities, and will hopefully always use, but for convenience and when the bank says I can, I will upgrade to digital.

Q. Who/what has influenced your work?

My peers and lecturers in education to begin with, most have influenced my work in some way shape or form, possibly good, possibly bad. I’m always looking at other photographers, whether my friends or professionals, Zed nelson, Joel Sternfeld, Stephen Shore and Joel Meyerowitz to name a few in photography. Spike Jonze, Chris Cunningham and Shane Meadows in film. My surroundings and encounters become important to my thinking and theories, I’m always looking at people and places for inspiration.

Q. Do you have any ideas on how photography in Birmingham can be developed or ideas for events/projects?

I went to a lecture by Magnum photographer Chris Steele Perkins this week, as part of Birmingham’s ‘Take To The Streets’ events and exhibitions. The talk was incredibly inspirational, and there was a good turn out of photographers throughout Birmingham. It’s things like this that should be promoted more and arranged throughout the area. Events like this are great to discuss work and ideas along with checking out the competition. I think it’s healthy to see who, as a photographer you are up against, and the level of work out there at the minute.

Contact Andrew on:

Website: cargocollective.com/andypilsbury

Email: aphotographic@gmail.com

Matt Murtagh

Q. How did you get into photography/what is your background?

I didn’t pick up a camera until I was 25, it was a beaten up Pentax film SLR from a car boot sale. It’s still my favourite.
I started shooting bands in dingy pubs then moved on to all sorts of stuff. 
I went down an academic route in training, getting a HND and then a degree in Photography while assisting various photographers in the West Midlands. I’m now a freelance photographer pretty much up for anything, I quite enjoy doing weddings too.On the fine art front I’ve had several large exhibitions and have been involved in organising large group shows. There is nothing more frustrating than organising a group of photographers.
I’m on the board of Birmingham Photospace, the campaign for a permanent photographic exhibition space in the city, and have served as Artistic Director of the We Are Birmingham project.

Q. What equipment do you use?

where to start…
Pentax ME Super
Pentax K100
Pentax K7
Hasselblad 500
Sinar 5/4
Canon 5d
Justin Quinnell’s patent beer can pinhole camera 
Elinchrom lights

Q. How would you describe your style of photography?

I’m a jack of all trades in my commercial work, at home in a studio or doing social photography. For my fine art practice for the last couple of years I’ve been creating a series of large Hockneyesque joiners. My most recent major commission has been the production of one for the Bullring (you can see it outside Jamie’s Restaurant).

Q. Who has influenced your work?

David Hockney, William Eggleston, Richard Avedon, Philip-Lorca diCorcia, Edward Weston are the first that spring to mind, undoubtedly many more.

Contact Matt On

www.mattmurtaghphotography.com (currently being reconstructed!)
flickr.com/msmurtagh

Karl Held

Q. How did you get into photography/what is your background?

I’ve been making photographs since I was a teenager, living in the Black Forest in south-western Germany.  After initially shooting everything on colour slide film (this was back in the days of family slide shows), I starting developing and printing myself.  About 7 years ago I lost a considerable portion of my sight.  That changed the way I see photography too.

Q. How would you describe your style of photography?

Tending toward the abstract, I like to play with the idea of the sight unseen, half-seen, or just inferred.  If the subject is a building, it has to evoke the sense that someone just jumped off it. If it’s a figure, then its intentions must be suspect.

Q. What equipment do you use?

A straightforward, analogue, SLR (a Nikon F75) and, exclusively, a 50mm lens.  It’s the classic reportage combination: Robert Capa died with a Nikon and a 50mm round his neck. I’ll shoot on whatever’s lying around, but in practice that means Ilford HP5 (at 400ASA). In the darkroom I use a Japanese made Jessops enlarger and standard Ilford Multigrade papers, filters and chemistry. When I’m feeling frisky, I’ll manipulate the paper before printing, perhaps my scoring or marking it in some way. In order to abstract subjects from the fairly ‘straight’ negatives I often use multiple exposures during printing, changing the layout, the enlargement or the focus. I also use photogrammetry techniques, overlaying opaque or semi-translucent objects onto the paper during parts of the exposure.

Q. Who/what has influences your work?

A Marks & Spencer ‘How To Take Great Photographs’ handbook from about 1984. And a sense of futility.

Contact Karl on:

Twitter @karlheld

Web http://wantonandfurious.wordpress.com/

Mail karl@karlheld.co.uk

Nicholas Priest

Q. How did you get into photography/what is your background?

Art was impressed upon me from an early age: it stemmed from the influence of My grandfather who was a paid artist and subsequently designed many landmarks around Birmingham. Despite my family history in art, art classes were frustrating for me; I had so many ideas but I couldn’t draw and couldn’t paint. Photography came through for me at a time in my life where I needed a focus, looking at my A-level options; a photography course came up at my local college in conjunction with the school.

From the first moment I went out on a shoot and learnt the basics I managed to convert those ideas I had into my interpretation of art with photography. From there I chose to pursue my love for photography after my A levels at Birmingham City University.

Q. How would you describe your style of photography?

After Learning about many styles and approaches to photography, I found that my passion was sourced in documentarian forms of photography as well as, photojournalism and colour. Centred around: Places, people, areas and cultures, scenarios that exhibit some sort of significance and truth. I go in with an objective or witnessing a photograph opportunity that is relevant and relatable to the times. I aim  to achieve a meaningful portrayal of people, areas, environments, I encapsulate ordinary things that are overlooked in everyday life in my photography, pictures that describe an area I am constantly seeking colour within the area and to illustrate its beauty.

Q. What equipment do you use?

When I first started out with photography had a Nikon F50, using different black and white and colour films. My next choice was a Nikon D50 then a Nikon D300, with a 18-55mm lens to a Nikon 50 mm 1.8. From there I started the to pick up some old point and shoots, a Canonsureshot 38mm lens and a Ricoh 35mm lens and recently I have acquired a Nikon F4 and a Canon AV-1, which I look forward to suing with both colour and black and white film.

Q. Who/What influences your work?

I keep my Grandfathers paintings and notes from his work framed around me when I am working to maintain motivation.

Moreover, the first time I saw a William Eggleston guide, I felt the want and need to make photographs like these. Looking at the common familiarity of everyday life, things and people. Stephen Shore and Martin Parr also influenced a lot of my work as they would go out with an objective. Similarly, I love the way Lee Friedlander traveled around looking for his photographs.

Myself, I revel in coming up with new concepts and projects and then trying to find the perfect photographs to portray the idea. I also love traveling within England, visiting various places and getting lost to make my discoveries. I also explore diverse cultures by traveling through various locations in the world.

Q. Do you have any ideas on how photography in Birmingham can be developed or ideas for events/projects?

I believe that more opportunities should be created for graduates and young and old photographers, especially in exhibiting and showcasing Birmingham in their work. I think that it is a matter Gathering photographers to try and come up with ideas to do this and try and raise some money to make it possible.

Contact Nicholas on:

Website: http://nicholaspriest.tumblr.com/ 

Twitter http://twitter.com/#!/nicholaspriest

Richard Southall

Q. How did you get into photography/what is your background?

My passion for photography began when my father persuaded me to buy a proper camera (Praktica LTL) from some inheritance money I had received. I was surprised by how quickly I took to it and the excitement I had of producing images.  I started as an assistant when I was 13 years old, working for  Dennis Constantine (high society portrait photographer). From there I progressed to college and studied for 4 years at Bournville College of Art and what now is Gloucester University. During this period, I continued to work as a freelance assistant both in London and Birmingham. At the age of 20, with the support of my future wife Elaine, I took the leap and set up my own practice. I have now been shooting for over 20 years.

Q. How would you describe your style of photography?

My commercial work is very vibrant and highly saturated. This mainly due to the nature of the subject matter – nightclubs, bars, restaurants, retail outlets, casinos, hotels etc. My clients expect from me a very distinct contemporary style of imaging which reflects their interior design and lighting. My personal work, in many ways is the complete opposite. I have over the last few years, reverted to film for my own personal projects and in particular, B&W. I have developed a real passion again for film and it’s unique character and warmth. I feel that we have lost a lot the intimacy and tone rendition through digital. For me, digital lacks character and is in many ways, it’s far too clinical in its final result. 

Q. What equipment do you use?

Commercially – Digital Nikon with the majority of the lenses used – fixed focal length as opposed to zooms for optimum results. For my own personal work, Hasselblads and a Sinar P. Lighting – Bowens 3k packs and heads, Bowens monolights, redheads and Metz

Q. Who has influenced your work?

My personal is very strongly influenced by Minor White, Wynn Bullock, Eliot Porter, Robert Adams and Walker Evans. My friends and colleagues know that I am still obsessed with capturing the perfect image of ‘peeling paint’ a la Minor White :)

Contact Richard on:

Website: www.emphasis.biz
email: richard@emphasis.biz