Some bookmarks

Paul Graham, from 'A1 - The Great North Road'

Haven’t posted recently again. Not that I haven’t been doing anything though, it’s more that I’ve been looking at others a bit more and then separately also trying to work out what the point is of the next thing I shoot.  That and a million other things. God, life is busy sometimes!

Everything is continuously punctuated by blown awayness. For me at the moment it is all about unearthing; I feel like I’m making up for lost time somehow.

The internet is great. It’s at once mountainous but also, inevitably, inspiring. Here is my current list of faves as of Nov 2011, the month of my 26th Birthday. I’ve enjoyed checking these guys out so I hope other people will find them interesting as well:

Walker Evans

Simon Roberts

Tom Hunter

Alec Soth

Vanessa Winship

David Monteleone

Yael Bartana

Walid Raad

Nadav Kandar

Simon Norfolk

Taryn Simon

Broomberg and Chanarin

Stephen Shore

Miriam O’Connor

Thomas Struth

Paul Graham

The good thing is that this doesn’t feel like proasic study, it’s just immensely enjoyable. I guess that’s a good place to be.

from Simon Robert's 'We English'

Points of confluence

I brought Taryn Simon’s latest project Contraband to the open tutorial session with Paul earlier this week. Basically Simon installed herself at two locations where contraband objects gather after being confiscated from passengers and packages before they enter the USA (these locations are the U.S. Customs and Border Protection Federal Inspection Site and the U.S. Postal Service International Mail Facility at John F. Kennedy International Airport, New York). It’s pretty interesting and you can check quite a few photographs from the series on this interactive web page here. Simon’s website also has a summary of the project here.

I find Simon’s identification of these locations absolutely masterful. Not only has she identified a point at which visually intriguing objects gather, but she knew that by cataloguing these items they would become symbols of something that is much larger than the physical situation in which they were photographed; I honestly find that kind of photographic perception to be as exciting as the photographs themselves.

Bird Corpse

USA American Viagra

Sala, Pork Fat

Perfume and Cologne (counterfeit)

When I was young, I wanted to be a rapper actually…

Promo photo for my old rap group 'Dark Trade'. Yes I know, the name makes no sense

I’ve always been a fairly creative person, but I’ve certainly never wanted to be a photographer all my life. I didn’t even own a camera until 22 (25 now) and to be honest I really wasn’t interested even then, I always wanted to be a rapper anyway. I was quite serious about it: I went to open mic nights in London, I freestyled in the street ciphers with other London emcees, rapped about being much better than all of the other rappers, and all the rest of stuff that you would normally expect. I even recorded a 5 track EP ‘Something I Made Earlier’ which still lies on my hard drive, completely unreleased  (however two of the tracks on there can be listened to on my old Myspace page. NB: be warned they are fairly cringe, but they’re still kinda funny to listen to now).

My point is is that although I didn’t start photography until much later than most people, I’ve always been trying things out, adapting to different practices, and seeing what works best for myself. I think this experience of trying different things out and being ready to adapt is really key to my practice as a photographer today, and will be even more important in the future. We just don’t know what’s coming next in terms of storytelling technology. Look at transmedia for example, I mean wow, that’s a real opportunity to explore.

Taxi Cab, Buenos Aires, Argentina, 15.03.08

The Babysitter, San Antonio de Arreco, Argentina, 24.03.08

But anyway, back to me. I started taking pictures after buying my first proper camera (a Canon point and shoot) in early 2008 to document my back packing travels in South America and the USA. Needless to say I really enjoyed it, and when I got back I wanted to find something that would keep me going and help me focus on one subject. I would never have predicted that I would literally stumble across a cage-fighting gym near where I live, but obviously I was rather transfixed and started my first project on the UK full contact fighting scene then and there (that was in late 2008 – it’s still ongoing now). I’ve now worked on two proper long term story projects, the latter I’ve just mentioned, and then there’s also one on the UK rap scene and the lives of the artists behind it such as Melanin 9, Chrome, and the members of Triple Darkness. I’m also trying to cover the actions of the anti cuts movement in the UK, which I’m finding quite difficult to do objectively, as I’m a supporter yet have been involved in taking pictures which don’t always tell the whole story about the protests that I’ve attended (obviously this is one of the occupational hazards for any reporter, and I will do my best to dedicate a blog post on it at a later date).

Police wait for more orders in the midst of the 'kettle' on Whitehall, during the protests against the rises in tuition fees, 24.11.10

In terms of my practice up until late last year, I’ve always been focusing on telling quite literal stories: ‘x’ is what happened, ‘y’ is a main character in this story, ‘y’ is related to ‘m’ and they are both heavily involved in ‘n’, which eventually led to ‘x’ happening. Stuff like that. Although that’s important to editorial photography, I would like to try methods of storytelling that aren’t quite so linear in the future and this is something that I’m hoping that I can get started on MAPJD course. Having the privilege of being lectured by such visual and conceptual greats as Peter Fraser is a brilliant way to start. The work of Taryn Simon and Sophie Calle is of influence here too. Due to these photographers I’m quite interested in making work which comments on why and how the photograph is used, particularly in a commercial news context, because I think that is a story that’s seriously worth telling. I’ve made my first baby steps in this area by producing and shooting a short 5 minute film with the rapper Melanin 9, which is a comment on how rappers are represented in media. You can see that here.

PS: My last thing to say is that I’m very lucky that the digital age came along. Digital is intrinsically sympathetic to anyone who doesn’t quite get how the camera works, and I am still embarrassed to say that she has been very sympathetic with me. Technically I am an awful photographer, and have nothing more than a rudimentary sense of how the camera works. Thankfully photojournalism isn’t all about one’s technical ability with the camera, but obviously it’s fundamental to being a professional. It’s safe to say that my technical knowledge of the camera is an area of my practice that I clearly need to attend to. I need to be able to understand all of the possibilities available to be when I hold the camera in my hand, and that’s certainly something I also want to be forced to teach myself on the LCC MA course.

But that’s enough for now. More on me and what I do later….