Posts Tagged ‘Photography magazine’

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

March 23, 2010

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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Nick Smith’s interview with wildlife photographer Henry MacHale in Outdoor Photography magazine

February 24, 2010

Beating about the bush

Most people dream about giving up their day job to become a wildlife photographer. But Henry MacHale went one step further and turned the dream into reality. Nick Smith hears his story…

Adventure and wildlife photographer Henry MacHale. Portrait: Nick Smith

Adventure and wildlife photographer Henry MacHale. Portrait: Nick Smith

Henry MacHale read business studies at Edinburgh University, but in his holidays he spent much of his time in east Africa. In Kenya he took the first steps from being a burgeoning amateur to entering the world of the professional. Over the past decade he’s lived there, worked as a guide, managed a game reserve and got to know his way around the bush. ‘I can speak the bit of the language and so I just get in my Land Rover and go.’

After college Henry worked in a well-known financial institution in the City, but after a year it was clear that it wasn’t working out for him. He wasn’t enjoying his job and the call of Kenya’s wide-open spaces was too strong. And so at the age of 25 he turned his back on a lucrative career and a jet-set lifestyle and set off with just one camera and two lenses.

Success came quickly for Henry, who within a year had his first exhibition of his evocative black and whites in London. Called ‘Images of East Africa’, Henry’s work can also be seen online.

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

Henry MacHale: I’ve been taking photos seriously since I was about 16, but the moment I realised I wanted to become a professional was about a month before I left my job. I thought: I’ve got an eye for photography. I love Africa. That’s it. I’m going.

NS: What was your first camera?

HM: A Nikon F65 film SLR. Quite basic, but I liked the control and the way you could take real photos with it.

NS: What formal training do you have?

HM: I went to London School of Art for four months where I did a crash course on the marketing side of photography. This was hugely helpful, not so much form the creative side of things, but from the business angle.

NS: How important is it to specialise?

HM: It’s important to me. I’ve always been interested in Africa. I’ve got a huge competitive advantage out there because I’ve spent so much time in the bush and know my way around.

NS: What is the best assignment you’ve been on?

HM: Gorillas in Rwanda. I think I enjoyed it so much because I’ve only done that once, and there was a novelty factor in that it was a very different kind of photography from what I’m used to.

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

HM: I’m away seven months of the year and my friends are in London. So I’m saying ‘no’ to weddings and parties. But you can’t have it both ways. Also you tend to worry about where the next pay cheque is coming from.

NS: Film or digital? Why?

HM: Digital. It’s cheaper. You save all that money on processing. I suppose the equipment is more expensive, but you’ve got that ability to edit in the field.

NS: Which photographers have had the most influence on your work?

HM: One of the photographers I most admire is Sebastião Salgado. His work isn’t wild or wacky or crazy, but it’s beautiful and simple. He’s done quite a lot in Africa and so that links in a bit. Peter Beard shot exactly the same areas that I photograph now, and so I’ve always been interested in his work. Nick Brandt’s stuff is really cool too.

NS: What does photography mean to you?

HM: In twenty years time Africa will be a different place – some of the people and wildlife will simply not be there in the same way. It’s important to try to capture this moment in a skilful and beautiful way. It’s impossible to capture an African landscape as you see it sitting on a hill. But I want to get as close as possible to that.

NS: What makes a great outdoor photograph?

HM: Everyone knows what a wildebeest or a Maasai looks like, and so what you’ve got to try to do is make the familiar look beautiful, perhaps with the light, or the dust or the way they’re standing.

Henry’s 5 golden rules

1 You can shoot a 1000 shots but don’t

2 Be patient and willing to sit there for five hours

3 Be prepared to throw yourself into it

4 Spend a long time on location just looking

5 The unusual is not always a good photo

Henry’s gear

Camera: Canon 1DS MkIII

Lenses: Canon 70-200mm f/2.8 IS, 24-104mm f/4 IS

Check out Henry’s website: www.henrymachalephotography.co.uk

Nick Smith’s ’10 Questions’ with adventure travel photographer Aldo Pavan as published in Outdoor Photography magazine February 2010 edition

January 22, 2010

10 Questions – Aldo Pavan

With his experimental style and background in philosophy, Aldo Pavan is the ‘thinking man’s’ outdoor photographer. Nick Smith hears his story…

Aldo Pavan is a journalist and freelance photographer specializing in travel reportage. He’s been on hundreds of assignments in five continents, publishing books and working with magazines. He has taught photo-reportage in Milan and is dedicated to photographic experimentation, crossing over into the role of artist.

Born in 1954 in Treviso, Aldo has been a painter since he was young, becoming interested in aesthetics and experimenting in the dark room. After graduating in philosophy, he began writing for the local newspaper Tribuna di Treviso. Since then he’s worked on countless magazine and book projects.

In 2003 he began working on a series of hugely popular photographic books about the rivers of the world. The Ganges, The Nile and The Yellow River are published by Thames and Hudson, with The Mekong and The Danube, lined up for the near future. Another project he is preparing is entitled The Routes of Man, a series of books dedicated to the great trade routes of the world.

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

Aldo Pavan: I have always been interested in visual media. I used to paint and draw a lot. My parents had many cameras and I started taking pictures for fun. After my university degree, I began writing for a local newspaper and using my photographs to illustrate my words.

NS: What was your first camera?

AP: With the money I got from my first job I bought a Canon FT 35mm film SLR. I remember that the first reportage I did was about a gypsy camp, but it has never been published because it was too strong. After that I photographed and interviewed a doctor who carried out abortion, which was illegal at that time in Italy. It was a small scoop.

NS: What formal training do you have?

AP: I have a degree in philosophy and I am self-taught in photography. I never took a specific course about it. I studied aesthetics, attending semiotics courses by Umberto Eco at the University of Bologna. I think that to be a good photographer you need to study a lot, as well as working on the field. Studying Roland Barthes is not wasted time.

NS: How important is it to specialise?

AP: I should say that it is very important, but I never did. I had to adapt to what my clients were asking for and sometimes keep my passions quiet to make them happy.

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

AP: I am doing a series of books about the big rivers of the world. It’s a huge work, first at home and then on the field. To photograph each river I needed from 5 to 8 trips, at least two weeks long. And after shooting I spend two months writing and laying out the book.

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

AP: I’d like to answer ‘nothing’. It’s a big game for adults… it’s fun. How can we compare this to some really hard jobs, such as miners, surgeons, judges. I spend too much time away from my family.

NS: Film or digital? Why?

AP: Digital, of course. We don’t use horse carriages to go from Venice to London any more because there are faster, better, more modern means available. There is no competition between film and digital. Digital has endless benefits that give more space to creativity.

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

AP: I spent hours studying the forms of Chagall, the colours of Matisse and the portraits of Francis Bacon. I love the shadows of Caravaggio, Titian’s reds and the backdrops of Giorgione. Photography has taken the place of the paintings that illustrated the history of man.

NS: What does photography mean to you?

AP: Photography is a language that works along with traditional media like text and words to form the human being and the society we live in. Working with it is a great privilege.

NS: What makes great travel photograph?

AP: Walking and walking. Good photographs do not come out alone, you have to look for them, chase them. You can get there with patience and research, plus a lot of obstinacy.

Aldo’s Golden Rules

1) Avoid cliché and break aesthetic rules

2) Always look for new ideas while you are shooting

3) Don’t be satisfied – you can always do better

4) Establish good relationships with your subjects

5) Don’t ask your subject to pose – look for a spontaneity

Aldo’s Kit

Cameras: Nikon D300 and Nikon D700

Lenses: 12-24mm, 24-120mm, 35-70mm, 35mm f2.8, zoom 70-200mm, 300mm

Flash: Nikon SB800

Tripod: Manfrotto

Notebook and pen

Check out Aldo Pavan’s work at  www.aldopavan.it