The Sheffield-based photographer discusses non-spaces, the power of process and the importance of making personal connections.
Tidal pool, Margate.
You moved from London to Sheffield a few years ago. What prompted the move up north?
I met Jo Peel when we both lived in London. We became friends, worked on a few things together, went on a trip to Japan, and not long after Jo moved back to Sheffield. I’d come and visit Jo and that’s how I got to see an insider’s view of the place. My mum also studied here in the 70s and always said she’d have stayed if she found a job, so that was in my head too. I was ready for something new and when a bunch of other friends moved up to Sheffield, it just made sense that I’d come here.
It tends to be fertile ground for photographers. You’ve got the juxtaposition of nature and industry, the rural and the inner city.
I’m not sure I really thought about it at the time, but it does suit my work. When I worked in London, I was always trying to find the quiet ‘non-spaces’: places that are in-between, like a quiet stream or an empty courtyard found in a bustling city centre. Sheffield is full of those sorts of transient spaces. When I was studying for my BA in photography, during the day we’d be covering interesting landscape work and contextual studies, then at night I’d be shooting bands. So there’s always been a bit of a Jekyll and Hyde aspect to my work, which fits well with Sheffield and its relationship to the Peak District, Kelham Island and places in and around the city centre.
“There’s always been a bit of a Jekyll and Hyde aspect to my work, which fits well with Sheffield… “
How were you initially drawn to photography?
My dad was a keen photographer. I remember getting an SLR when I was younger and enjoyed taking pictures with that. Initially, I wanted to be a graphic designer, so I did an Art Foundation course and there was a photography module. I remember the teacher telling me I had a good eye for it, and that was the first time I’d been told I was good at something specific, so I suppose I just ran with it. I then studied photography at uni, ended up working in picture libraries when I moved to London and shooting a lot of bands in my spare time.
You still do a lot of work with artists today. Is showcasing creatives a key motivation of yours?
I think I’m particularly interested in process: how things are made creatively by makers and artisans. I like to show the graft behind things, and perhaps the not-so-glamorous sides. When I was working with touring bands, the shots I’d most like to take were the ones during the downtime, after the gigs when the adrenaline has worn off and everyone’s exhausted.
“I’m particularly interested in process: how things are made creatively by makers and artisans.”
Which bands were you shooting when covering the London music scene?
This would’ve been around 2006-2010, so there was a lot of the nu-rave and DIY punk/indie stuff going on. I remember shooting the XX and bands like Foals coming through – there was quite a lot of math rock coming through. It was quite a vibrant community and it was great to be part of it; to me, it was just as much about the people as it was the music.
The XX, 2009.
What’s the secret to good portrait photography?
Tricky one. I think that instinct plays a big part in it. I will normally meet people, see how they react to the camera – sometimes they’re great with it, sometimes they’re awkward – and you can either work with the awkwardness or try something else. I want it to be a true representation of them, so it’s important they stand out in the picture and the backdrop isn’t too overwhelming. There’s an element of stripping it back to basics, which I think is important.
Chris Watson, founding member of Cabaret Voltaire.
When are you happiest behind a camera?
In terms of style, l like a mix of things. I enjoy working with natural light and making that work in environments, not formulating things too much and being spontaneous, particularly with portraits. Then my other side is more landscape and texture-based stuff, which feels a bit more like my own thing, and I feel like I’m quietly getting on with my series exploring the woods of Sheffield and following the River Sheaf linking to different areas. I suppose that’s when I’m in my element: just me and a camera walking around, exploring somewhere.
“I’m quietly getting on with my series exploring the woods of Sheffield and following the River Sheaf linking to different areas.”
What advice would you give to budding photographers?
Be good to people from the get-go and it will hopefully come back around. There have been people that I’ve met at gigs, got on with, and ten years later they’re still commissioning me for work. Being polite, friendly and open to ideas always helps and that personal connection can help get you over the line. The focus on just promoting yourself on social media has tipped an edge, I think, and I’ve tried to go back to the basics of meeting people face to face, or at least emailing people directly, and focusing more on personal connections.
