Nick Smith’s interview with Georgina Cranston in April 2010 Outdoor Photography magazine

Out of Africa

From gritty reportage on social issues to highly original travel photography, Georgina Cranston has a stunning and diverse portfolio. Nick Smith hears her story…

Women displaced by post election violence in Kenya, including one who fled a torched church where at least 18 people died. Photo: Georgina Cranston

British Photographer Georgina Cranston began her career in 2000, focusing on documentary photography of humanitarian issues. For the past decade she’s travelled the world on assignments for NGOs such as UNICEF and broadsheet newspapers such as the Daily Telegraph and the Times.

Working on a diverse range of subjects including slavery, leprosy and communities living in exile, Georgina has a personal interest in women’s issues. Recently working in the Congo’s gold mines she focused on the extreme conditions faced by women working as ‘human mules’ deep inside the disused mines, carrying up to 60kg of rocks on their backs, at times when eight months pregnant.

Georgina became a professional photographer as soon as she graduated from university and has worked in the industry ever since. She is currently based in London having lived in East Africa for the past three years, working across the continent.

Nick Smith: When did you realise you were going to become a photographer?

Georgina Cranston: I always had a camera with me when I was younger. After university I had this idea I wanted to work in the charity sector, but I ended up a photographer working in social issues. As I started getting more jobs and I thought maybe I could make a living at this.

NS: What was your first camera?

GC: Other than a point and shoot? It was a Minolta Dynax 500Si 35mm SLR. The first one I got the hang of was a Nikon F100. I took it with me on my first job, and every time something flashed I had to dive behind the sofa to read the manual.

NS: What formal training do you have?

GC: I’ve got a degree in psychology, but as for photography I’m self-taught. I learned on the job and also did assisting to get an insight into different types of photography.

NS: How important is it to specialise?

GC: I do think it’s important, but in order to survive in the industry as it is at the moment you need other strings to your bow to earn a living. But I am going to specialise in women’s social issues.

NS: What is the best assignment you have been and so far?

GC: I went with a newspaper to see the gorillas in the Virunga National Park in the Congo – tourists don’t get to go to the Congo at the moment, so to see the gorillas there was pretty special. The millennium celebrations in Ethiopia was special too – it was bizarre to celebrate a second millennium in my lifetime.

NS: What’s the worst thing about being a professional photographer?

GC: The thing I probably struggle most with is spending a lot of time on my own – airports, computer and so on. I don’t think that’s healthy. Having a balance is probably the essence – if you’re always doing assignment photography you’re always on the move.

NS: Film or digital? Why?

GC: I use digital and it helps in the work I do – transmitting images to newspapers from overseas. Logistically it makes life easier. When I taught photography in Kenya I used film. I miss the way of working with film, not knowing what’s in the camera at the end of the day.

NS: What’s the most important thing you’ve learned from another photographer?

GC: A friend of mine once encouraged me to show my work to him. It took me a while to pluck up the courage, but once I’d done this I realised how beneficial it was. It makes you look at your work in different ways.

NS: What does photography mean to you?

GC: I’ve always been fascinated with people and cultures and photography has been a great way to learn about them. Maybe that’s why I did psychology at university. An important thing for me is to capture emotions or the essence of where you are. But it’s also about transmitting these things and evoking emotion in the person who’s looking at it.

NS: What makes great travel photograph?

GC: The thing that I think that makes a good travel photograph is the energy of people or places – peaceful, highly excited, whatever. The great ones are the ones that give me that feeling.

Georgina’s golden rules

1) photograph what you’re fascinated in

2) establish relationship with subject

3) shoot RAW files

4) research your subject

5) don’t be afraid to have fun

Georgina’s kit

Cameras: Nikon D3, Nikon D700

Lenses: 17-35mm f/2.8, 28-70mm f/2.8, 80-200mm f/2.8, 85mm f/1.8

Check out Georgina’s work at www.georginacranston.com

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