![]() They are not requested, or funded, and so are free of any corporate message, but I am trying to create an image that slightly punches above its weight in terms of scale and concept. My point is that I know all about zero budget films! There is just absolutely zero budget for these images. NL: As a 21 year old kid we- me and all my Doctor Who fan friends- made a movie, Scarecrow City (renamed later I think), and the writer asked us if we could do some special stunts and you know, maybe even roll the hired Landrover for a part of the film and we just laughed and said, “Are you kidding!” Of course, we did manage to accidentally roll the Landrover while there was no camera rolling and no one looking. Image courtesy of Nick Layton.ĮvH: You’ve used the metaphor of a film director to explain the role of the concept photographer - can you elaborate on this likeness for our readers? Then, one day, I was putting my work into frames and it just struck me, looking from one image to another, yes, there is something of a familiar thread here, of quirkiness, and of me I guess. I don’t think it’s a great image, but it has a certain promise about it. I put two studio lights on the far wall and with not too much finesse, semi-pointed them back at Andreia, and that was it. And Andreia Cardoso, a lady from Portugal who, like all the ladies I have shot over the years, was lovely, said yes. I was working with a model in a semi-dilapidated apartment above a friend’s tattoo shop, and said to her that I had this idea about making her float and would she like to give it a try. So I didn’t start off thinking, “I must create a body of work that defines me as a photographer,”… or did I? I love fine art photography and wondered if I could fuse the two mediums of concept and fine art together. ![]() I enjoyed creating these images, and at any point I might return to that, but it was the sort of technically challenging image that you might associate with creating a poster for a Disco, rather than finding something of meaning in the context of the subject and their relationship with the environment. ![]() Attempting to keep as close to the same aperture from one shot to another, I was using ND. Nick Layton: I started experimenting with double exposures, mixing images of different length exposures (one with standard strobe and the other using a bicycle light in shot and spread over 30 seconds). Emily von Hoffmann: Concept photography is still something that I think people regard as mysterious or wacky - how did you get started in concept photography? What got you hooked? ![]()
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