How’s it going Rob? Thanks for agreeing to speak to me, as usual could you just introduce yourself please?
Hi Math and thanks for inviting me on your blog. I started photography as a teenager with my own darkroom in the 80’s, but have become a more serious documentary photographer over the last 8 years, or so. I’m drawn to documenting both rural and urban environments and the people within them. I’ve had great fun with this and have succeeded in having my work exhibited and published nationally.
How did you discover photography as a teenager? I'm not saying you're old but I take it there were no smartphones about?
Yes, well I AM old, Math! Totally pre-digital. My dad always carried a camera with him and slide shows were always a part of family life in those times. I begged my dad for a camera of my own and he eventually bought me my own SLR, an East German Praktica Super TL with a 50mm lens. A few years later, I converted my bedroom into a darkroom and started processing my own black and white film and making prints up to 10 x 8. All with dust spots and varying dodgy levels of exposure and contrast.
Do you think upcoming and young photographers would benefit from shooting film and the whole dark room process, did it teach you anything?
I can’t stress enough that I think you can make a truly good picture with a phone or a disposable camera as much as any other. So starting, or even staying, with what you have available is fine. I shoot with everything, but certainly film makes me think more and slows me down. In fact, when I shoot digitally, I try to imagine that there’s a roll of film inside the camera. And by removing all those variables like over-editing or whacky effects that digital photography can tempt you to try, you’ll probably have work that appears more honest, believable and consistent. But it’s down to you and what works for you personally. Darkrooms are fun, if you enjoy the process, but I’ve not used one in many years. I just want to take pictures. But it still guides me in any editing as I’ll try not to do anything in Lightroom that I wouldn’t do in a real darkroom, for example.
Have you always shot the same subject matter/style? How did you progress to your current style and how would you describe your current work?
My photography took a serious step upwards about 7 years ago when a colleague with an honours degree in photojournalism started mentoring me. I began to work in terms of documentary series and these were often explorations of places, mainly urban. If they weren’t urban, they’d be looking at man’s effect on the natural environment.
But most importantly, I learned to remove as many variables as possible in my practice to achieve cohesion in my photography. That often meant using one camera and one lens, often shooting film and minimal editing. It seemed to work.
I agree, the minimalist style is definitely one of the attractions of your work!
I do enjoy the more minimal side of compositions and enjoy the challenge of taming the visual chaos out there to make sense of a subject, or tell a story. I often joke that “I’m too stupid to do ‘complicated’”! And perhaps I am, which is why I’m captivated when I see some of your complex compositions that just ‘sing’, Math. But for both of us, it’s great when people recognise that we have our own distinct ‘way of seeing’.
Finally, I had to step up to include portraits in my projects for completeness and this has been one of the most rewarding experiences.
Following on from your previous answer, the majority of your work does not feature people, was that a conscious decision or did it just naturally pan out that way?
Yes, I’ve excluded people from most of my new topographics images, you’re right. Thinking about it, I try and avoid parked cars, too! I haven’t thought about this much, but I think it’s still about minimalism and amplifying the central narrative? I prefer individual portraits instead as part of a wider series.
You have been very successful in having your work published within exhibitions and publications, do you have any advice for people who are working towards this?
I’ve been fortunate and there are some fantastic people out there sharing work and creating opportunities. My first advice, particularly for beginners, would be to definitely start to work in series. You may already look at your larger body of work and see some series forming of their own accord. Or you may have an interest in particular places or people. Then keep everything cohesive, with your own ‘way of seeing’.
Find a narrative, a story that will run a thread though your work. Opportunities are happening all the time that will never happen again: Covid and Brexit are two strong examples. There’s never been a better time to document these crazy days.
Then get submitting! Whether it’s an Instagram feature or a student zine, get used to reviewing and editing your own work and writing a little about what your project’s all about. Package it up and send it off! Then you can progress to open calls for exhibition and publication – but be very wary of paid competitions. Get your friends to alert you of any new opportunities, too and support them the same way. And have fun! There’s nothing like the buzz of having work shared, exhibited or published. You’re making your own mark on the world, however humble.
Thanks Rob, nice to learn more about your work and some great advice in there too!
You can see more of Rob’s great work using the links below:
Website: www.wtgphoto.com
Instagram: With The Grain
Twitter: @robs001
