Interviews

Marco Grey

I chose to interview Marco for a few reasons. He is a current and interesting photographer, covering issues that resonate with me and the people I was aiming my section at. On a deeper level I wanted to look at the relevance of his involvement in the area he photographs before being a photographer. I wanted to understand if being involved in the grime scene before being a photographer made it harder or easier to properly capture and document it. 


This was an extremely interesting interview and a lot of my questions were answered well. Unfortunately it didn't make it to the zine as it is quite similar to the Simon Wheatley interview and I thought the Wheatley interview was stronger and more in depth.

The interview features on the website.

Q1.When did you first get into photography and what got you into it?

I first got into photography because my dad wanted me to take photographs of his Hi-if equipment for Ebay. The point and shoot camera that we had a manual mode and I learnt pretty much all the basic about photography and manipulating light because I wanted the photos to look professional so that we would get more bids.

Q2.What started you off in music photography? 

I started doing music photography because the majority of my friends made music, even nowadays I don't consider myself a "music photographer" as the majority of the people I shoot, I consider friends who make music rather than musicians. I think this outlook also forces me to create a genuine connection with every person who I shoot. 

Q3.Are you involved in the grime scene (other than your photography)? 

I'm a massive fan of the grime scene firstly, currently I'm not officially "involved" in any professional capacity in the grime scene other than photography but I do spend time with a lot of Mc's and sometimes aid in the creative process, I'm not sure what the name of the role is but I do it occasionally. 



Q4.(following on from the previous question) If so, do you find it easier to capture the spirit of the scene if you are involved yourself?

I think it's harder to capture the spirit at times because when your deeply involved in something, you sometimes overlook the moments because it's become common to you, but I love the challenge and will continue to chase the moments that present themselves. 

Q5.I find it interesting that you don’t consider yourself a ‘music photographer’, do you still consider what you do as documentary photography?

Q6. I know what you mean about it being harder if you are involved in what you are documenting, how something things that you are so used to and wouldn’t think twice about could be amazing to an outsider. What do you do to make sure that you capture everything that needs to captured or are you still getting to grips with that?

Q7. Although being part of the ‘scene’ may have its drawbacks I’m sure it has its positives too. Do you find that people are more relaxed when you are photographing them as your basically ‘one of them’ instead of an outsider and having this prior insight into your subjects do you feel it easier to photograph them?

Q8. As you guys are relatively new what did/do you find is the best way of gaining exposure (social media, exhibitions, being featured in magazines etc.)?

Q9. I have noticed that you use tumblr as the main place you show your work. What do you think are the best ways to use social media to exhibit your work and do you use other sites to do this?

Simon Wheatley

I first discovered Simon while researching Marco Grey, he dubbed him as the 'godfather' of grime photography. So obviously, I had to try for an interview. Although there was so trouble with questions at first but that aside everything when well. I gathered enough information, so much so that so is not actually featured in the zine.  

I really didn't expect Simon to give such intense and interesting answer, he is truly passionate about his profession and he was really interesting to talk to.

Q1. Have you always been interested in documenting subculture or is it just the grime scene that you have explored? 

I am interested in subculture as an expression of deeper socio-political issues.

Grime was something very significant, but there doesn't seem to be much else going on at the moment. Even grime itself is not so much of a subculture anymore. I have also looked at heavy metal in Calcutta, where I have lived much of the past 7 years. However, I found it quite artificial - like much of modern India - and decided not to pursue the study too far.  

Q2.So by that do you mean you are using the subculture as a vehicle to explore the larger political/social issues accruing at the time?

I was already involved in the larger political/social issues of the time before grime came along and defined the era.

Q3. Do you feel you get a different type of image if you are an outsider looking into a scene or culture as opposed to someone who has been involved for years starting to document it (like the 'wot you all it boys')? 

I think it's good to be an outsider for an objective perspective, but deep knowledge is important because photography should happen in the subconscious. 

Q4.I agree, I think with a good knowledge of the culture and a non-bias point of view you can capture the truest images.

Do you feel that your subjects act differently when yourself (the photographer) is an outsider?

I become something of an insider. But coming from the outside is important for objectivity.

Q5. How did you find it documenting the grime scene at the start? I understand that you are now a respected and a well known figure but at first what was the reception like? 

I've always been well received by the people in grime but obviously nowadays things are on another level. But before I was focused on grime it wasn't always easy to photograph in the inner city, especially at the beginning when no one knew who I was. I've been through similar experiences in France and Holland, in tough urban areas, and it can take a lot of you personally - especially because those places can be quite dispiriting and hopeless at times.

Q6.I can imagine things were a bit shirty at times. Have you got and tips/advice for dealing with situations like that?

Be real, be sincere, and don't try to bullshit anyone. Real recognizes real, they say and it is true. Getting pictures is relatively unimportant; they will come if the feeling is good.

Q7. As you have gained more trust and integrated yourself into the scene do you feel that your images have changed?

I have always cultivated trust so probably not. But I was very raw at one time and maybe those images are of that time. I'm not sure, however, in a way I'm always raw. Perhaps that's what makes me a photographer in the deeper sense and this will always remain with me. I actually believe photography is a spiritual state in its highest form.

Q8.That’s a very interesting way of looking at things. So by that do you feel that everyone has there own style which is an extension of there own being and a product of there personality. Due to this do you think anyone can actually every truly change there style?

There is evolution in everything. Circumstances change and we are shaped by them. I'm not confident about answering this as I have not lived long enough I guess.

Q9. What do you feel is the best way of getting exposure? Exhibitions, social media, magazine coverage etc.? 

I should maybe ask you that question! I'm still a bit underground. Social media seems to be useful as a base because it can lead to the other channels you mention, I suppose. However, the flipside of this is that social media is proving very destructive to the artistic process. I feel that we are not seeing the emergence of great photographers like before because people are too busy watching what else is going on - everything is available online whereas before you had to get a book or go to an exhibition or see someone's work in a magazine. A powerful artist has to immerse himself thoroughly in his work without distractions: one's internal world is the deepest source of creativity, but from what I see people are too busy looking externally. We are in a very shallow age.

Q10.I can see that social media is something that you are rather hesitant about. I can sympathies on many levels and I take on a lot of your points but you must be able to see the positives? You can now self publish, see unlimited work and inspiration, contact anyone instantly and spread your work all over the world. Its sad to see less and less people visiting exhibitions but I have seen more photo books being published recently and by using social media sites I have discovered countless artist that I would have never heard of before. Maybe there is something shallow about the whole online world now a days but I think there is a lot of selflessness, not everyone is uploading selfies every 5 minutes It can be used to appreciate others, to learn and to experience new things.

I hear you, and I want to be positive about things. I still think there is a problem - which existed pre- social media - of photographers looking around online too much rather than focusing on their own work. I never mentioned anything about books and self publishing is an interesting phenomenon. However, it can be overdone: a book should be worthy to be one. And a book should, in my view, ideally be a reflection of an experience, a way of dealing with that. When people set out to make a book before they have the material that corrupts the process of photography itself, which should be unencumbered by expectation or of course ambition.

Q11. Thank you very much Simon for taking the time out to answer my questions. It has been really eye opening and I hope its as useful for the readers. Do you have any advice/tips for photographers trying to make a name for them selves?

Don't try. Retain innocence. Work intelligently and with spirit and let it happen if it is meant to.

Sarah Koury

Since I have been in Bristol I have seen alot of event photographer work some pretty good and some just bad but Sarah Koury a.k.a Vindaloo arts is the top dog. Producing some of the most considered and well executed event photography I have ever seen. 

I wanted to talk to here about what it means, take and is to be a successful event photographer. 

Q1. How did you start out and what do you think is the best way of getting a foot in the door?

Upon finishing university, I joined an art collective that was made up of some of my closest friends, all of whom are amazing artists in their respected areas. We created a production company that built highly creative stages and environments for events, concerts and festivals. I became the in-house photographer for all of these events and festivals and through this I met all sorts of people, artists, djs, and designers within the industry. It also gave me the opportunity to build my portfolio and gain loads of experience shooting events.

Q2. What have you found is the best way of gaining exposure and getting jobs? (e.g. social media, word of mouth etc.)

It really comes down to networking. You have to put yourself out there, meet people and getting inspired by what others are doing. Social media is a great way to get your work out there and I do encourage all freelance photographers to utilize it fully but when it comes to getting the work, a large part of it comes down to knowing the people within your industry. Most of the time, the people you work for on a regular basis end up becoming your friends. 

Q3. Did you have to do a lot of work for free to at first? 

I started out doing all of it for free. But it wasn’t really about making money at the time. I was very excited and inspired by the creativity of others and my means of contribution was through my photos. However, you eventually hit that point where you must recognize and honour the work and your intellectual property - a point that is reached naturally.

Q4. What is the interaction with the people that hire you like, do you get a lot of artistic license or are you advised on what to be shooting? 

I have worked for a wide range of people which I believe warrants an attitude of kindness and professionalism. Its important to deliver results every time and treat every gig as new opportunity to establish a relationship. Pair that with a positive and enthusiastic attitude and you become memorable.

 In terms of artistic licence, you will always own the rights to your work and you have granted permission to your employer to use that work for promotional purposes. The agreement is solely between yourself and your employer. Its important for you to establish the terms of the agreement prior to the gig between yourself and the employer as it is quite common for others to want access to that creative property as well.  If a third party wants to access permission, that it a different and new agreement and must be granted permission.

Q5. Could you give me a break down of the kit that you use, who do you need and what don't you need? 

Getting the right kit comes down to what you want to achieve with it. Do your research and find out which models are compatible with what you plan on achieving with your work. I have two DSLRs, covering a basis from studio work to lowlight events to high quality video. Investing in a handful of prime lenses is also very worth it. I also work with a wireless lighting system which I find give you more potential for the photos you can take.

Q6. You style is so different and really effective? How do you achieve this and why don't other people do this? Do you know something they don't?  

The best advise I ever received for creative work was that you should get inspired by what others are doing, utilize that technique but then take it one step further and add your own ideas to is so that result is your own. I researched the work of others producing the kind of style that I wanted to achieve myself and once I found the technique, I started experimenting and modifying it with my own ideas.  Its taken me years to get my style down, a lot of hard work, and I will always develop it- never stop exploring and learning. I know what I value in a good photograph. I take every opportunity to top myself by never getting complacent with my work and trying something new and I think that mentality has allowed me to get where I am today.