Approaching Velocity Magazine

Interview #6 - Ellie Harvey

2010-02-11T09:00:00.000-08:00

Approaching Velocity is proud to introduce our first photographer of 2010, and our sixth photographer so far, Ellie Harvey, a photographer who grabbed our attention with a desire to explore and challenge both herself and other’s perceptions.
Please stay tuned over the coming weeks and months for more interviews, plus articles and some exciting new announcements from Approaching Velocity.

Ellie, what is your background to photography?

I started to get into photography a few years ago - I’d been in hospital for a long time and my doctor suggested I made a scrapbook of photos of my friends. It gave me something to focus on, and I found I wanted to take more and more photographs to have a visual record of good times. After that I did my A-levels, one of which was photography. By the end of the course I was pretty obsessed with it and was the only thing I wanted to do. I applied at a few places to do a BA and decided to go to the London College of Communication as I’d heard it had a good reputation for photography. I’m now in my final year of the course.

The subject matter of your photography is rather broad; your projects 'Labels', 'Twins' and 'Kids and toys' are very different to your fashion and music-based photography. Why the split approach to photography? Do they feed off each other, or are they the result of quite different approaches?

The projects came out of having a very tight time frame in which to make a body of work at college. If you have only eight weeks to produce a reasonably cohesive set of images I found it is a lot easier to have a really tight focus on a subject - with anything too abstract or experimental I found you lose track of what you are doing when you only have that very short space of time to make the work.

I don’t really perceive it as a split approach, I think a lot of photographers work in many different areas (and sometimes different mediums), it just happens that they become best known for one over the other. I’m also easily bored by just doing one thing; I enjoy fashion photography for the element of escapism and kind of building this fantasy world, but I couldn’t imagine only ever doing that. I also don’t know whether fashion photography really has the scope to be meaningful or communicate anything important - I think it has the potential to, for example, Nick Knight’s work really pushes the boundaries of what a fashion photograph is and can do. But I’d never want to end up spending every day shooting look books and beauty adverts. I like researching a subject and really getting involved in the area I’m working in, so separate projects are best suited to that, because essentially you are free to communicate whatever you want to say.

The music stuff is what I started off with when I started my A levels. I do very little of it now; I don’t think I’m really cut out for that kind of photography – I’m too short to see the stage half the time! I do still enjoy it, and of course it’s a great way to get to see lots of live music. But I kind of get frustrated that I can’t control the lighting etc.

You've stated that your projects aim to explore (and presumably challenge) 'contemporary photography culture' and society. How much do you feel you've succeeded? Do you feel art can truly challenge society? Where do you wish your explorations to go in the future?

I do want to make work that challenges existing assumptions, visual representations etc. I think it is important – such as with the ‘Labels’ project; people with mental health problems are generally portrayed really badly in the media, which just adds to the stigma that already exists. I wanted to make portraits that normalized this, showing that people didn’t look ‘crazy’ or any different from anyone else. Of course, success in challenging anything relies on how the work is disseminated. I haven’t shown the work at all outside of college or online (the project was going to be included in a group exhibition about various health issues, but unfortunately I couldn’t get funding in time). So in that sense, no, it hasn’t succeeded in challenging anything at all. But it’s definitely something I want to build on and do more with in the future.

More and more this is the direction I’d like my work to take – to try and alter or challenge existing portrayals of marginalized social groups, or perhaps just try and get across some understanding and help to enable people to have a voice.

As to whether art or photography can truly challenge society; again, it really depends on how, where and by whom the work is actually seen. Art is never going to change the world, but maybe it can play a small part in engaging people with particular issues. I’d love to think that photography had the power to change things, to empower people, to make the world more equal, but realistically it doesn’t really have that power.

The ‘twins’ project was in response to a brief on ‘contemporary photographic culture’ (or something long those lines), and I’d say it is probably my weakest project, simply because it’s not really something I am particularly passionate about or engaged with. In the 'twins' project, I guess it kind of commented upon issues relating to identity in a digital/virtual environment, but I certainly wouldn’t say it challenged it.

Your presentation of people, in both your projects and fashion, is, to me, particularly intimate and presents them as rather vulnerable; they seem the sum of their environment and their possessions, and rather overwhelmed - the distance you are from the subject extenuates this. How much of this is a conscious decision? Why do you photograph people?

It is very deliberate. I guess I’m always looking for vulnerability in people as I’m generally (albeit usually unconsciously) looking for something of myself in other people. That being said, I don’t go out of my way to make people look miserable. I like shoots to be fun for people, especially if I’m working with children – I’ll just let them be themselves and get used to the camera for a while, then ask if they mind looking in a certain direction or something. I pretty much always say to people only to smile if it comes naturally, I don’t like forced smiles. People don’t naturally go around with a fixed grin on their face, but people still often find it disconcerting if someone isn’t smiling in a portrait, we’re just so used to it as culture.

I don’t really know why I photograph people. It’s just what I’m drawn to. It’s kind of odd really as I’m pretty shy - it would make more sense if I avoided photographing people altogether. I suppose what interests me relates to sociological and psychological issues, which generally involves people. And I guess it’s also a challenge personally; I used to be terrified directing people in front of the camera but now it’s become almost second nature.

The Internet has transformed the way people create, disseminate and consume art. How has this affected your photography?

If money were no object, the internet would be my least preferred medium for showing work, but as it is, it’s a cheap way to get your work seen by people who’d never see it otherwise. It’s also good for networking - meeting other creatives and so on. But I don’t really ever go out of my way to force my work on a lot of people; I know quite a lot of young photographers who do, and have a profile on numerous sites and have probably have got some work or at least recognition out of it. It’s just not how I like to spend my time, once I’ve edited photos and answered emails I’ve had enough of being behind a screen.

I’m not overly keen on Flickr etc; I use it mainly because it’s a lot quicker to update new work than on my website, so if I need to send a link to someone I can quickly show them new photos there. I’m sure there’s a lot of good work on there, but there also seems to be a lot of work on those kind of sites that is really derivative, people blatantly copying their peers because it happens to be popular.

Does your photography speak for you, or say anything about you?

It probably says a lot about me, more than I’d necessarily want it to. I try to avoid it being too personal as I’m not comfortable with that, but I guess there are a lot of subtle aspects. And most of the time I like to be really involved with a particular subject matter, otherwise I don’t really see the point. I think that’s the same for a lot of people; if it were just a job then everyone would shoot weddings. When I’m shooting fashion or a portrait it generally has a lot of my personal style in it visually, but equally aspects of the subject’s style or personality.

What influences your photography?

So many things. As you mentioned, the areas I work in are quite broad, so it really depends. Often, it’s just something I think, or something I’ve read. It’s generally just a really big mix of all different things, thoughts, ideas, visual references, so it’s quite hard to pinpoint. Again, as I mentioned, if I’m shooting a portrait (i.e. specifically of a person as opposed to within a series) then I try to make it as influenced by the person as possible.

What do you like most/least about photography?

I guess I often have too many ideas and I just don’t know where to start, so that’d be what I like least. And I sometimes find it frustrating trying to find a way to make photographs communicate what I want to say - although of course you can’t force someone to read an image in a particular way. I also don’t like being told something is ‘right’ or ‘wrong’ technically/aesthetically. I don’t mind critique at all, I just don’t understand the idea that photography is governed by specific technical rules, I’d prefer to experiment and see what works.

What I like most… I suppose that it allows you to ‘see’ things, places, etc that you’d never get to see, and that you can ‘see’ things how someone else sees them.

In a universe that centered around you, if there was anything you could shoot, regardless of resources and physics, what would you choose to photograph?

I have no idea. Traveling the world would be nice, without having to worry about finance and the logistics of it. I don’t know what I’d shoot though, I’d want it to have some purpose.

What do you hope to do in the future?

I think it’s important not to be too idealistic as it’s a very competitive industry, but ideally I’d like to shoot portraits and fashion for magazines and work on personal projects as and when time permits. I’m also keen to get more into moving image work. I recently worked on some fashion films which I really enjoyed; I’d love to do music videos eventually. In the long term, I’d love to run a creative therapies service for children and young people with art, dance, drama and music therapy; I don’t think enough of these kind of services exist and for a lot of young people having a creative outlet could be really beneficial as a means of expressing themselves.

Do you have a favourite photograph or photographer?

There are so many it’s impossible to pick one favourite. I like many different people for many different reasons. Richard Avedon, Guy Bourdin, Nan Goldin, Sarah Moon, Mary Ellen Mark are a few favourites among the most well known artists. Floria Sigismondi, Taryn Simon, Ellen Von Unwerth, Loretta Lux, Philip Lorca diCorcia… I don’t know, I like a lot and a pretty diverse range, and it changes all the time.

I guess my favourite photographs would be my own personal snapshots. I can’t think of a particular photograph by an artist that I like more than any other. I do like the Tim Walker photo of the pastel coloured cats though.

Do you have any advice for other young photographers as to how to approach the art?
Um… just to experiment really. Work on your own ideas and work out how to communicate what is important to you. There are too many photographers in the world to just do whatever happens to be the ‘in’ style of the moment.

Louie Banks, Approaching Velocity's last photographer asks: Who would you most like to photograph, and why?

If they don’t have to be living, then Marilyn Monroe. She is one of the most photographed people of the twentieth century, but I just feel I’d like to try and bring out a different side to her, beneath the glamorous facade. I feel as if I could relate to her.

Living people, I have quite a long list, but the top three would be Bjork, Vivienne Westwood and David Bowie, basically because they are people I admire and have amazing style.

And lastly, what would you like to ask/know about the next photographer interviewee?

Why photography over any other medium?

Thank-you Ellie.
ellieharvey.com

Interview #5 - Louie Banks

2009-11-29T12:10:00.000-08:00

This is the interview you've been waiting for. Probably not all your life, but most of it. Get ready to meet Approaching Velocity's fifth photographer... Louie Banks.

Mr Banks can do nothing wrong; he's worked with Rankin, photographed for numerous covers and clothing companies, and owns one of the hottest new magazines in the UK, Gang Up. Whatever your expectations, Louie trumps them. He's a fucking nice guy too. Bastard.

Hey Louie,

Hey!

What is your background to photography?

I basically started when I decided to do an A-level in photography just over two years ago... I was always bad academically and loved the arts; I always liked looking at photography in fashion magazines so thought I'd give it a go myself. I haven't really got an interesting story behind it, but I loved my course and spent all my time doing photoshoots, getting an 'A' in the course but failing every other A-level I had taken. Well worth it though.

If you had to describe your photography, how would you?

I guess it's fashion photography... without the fashion element of selling clothes that usually comes with fashion photography. It's quite alternative and not too commercial... whilst being sexy, I hope.

Nearly all your photographs are of people, and fashion. What attracts you to people and fashion so much?

People are so much more interesting to shoot. A shoot with a person is much more interactive than a shoot with a tree or something. I almost always shoot with very interesting, outgoing friends of mine and so you never know what's going to happen. You could go out with a strong image in your head but when you are shooting a person you are never going to get the result you were looking for.... it's spontaneous and you get much better results when that's the case. I am shooting a lot more documentary style pictures on film however... but only for my own benefit. I probably have about 20 films waiting to be developed when I get a bit of money.

Like Eleni in our last interview, you constantly experiment with your photography; using different camera formats, styles and subject content. Is there a particular reason the content and medium of your photography is so varied?

Yes: The fact that I actually know fuck all about photography. I know that sounds a bit stupid but I don't know any of the technical stuff and really want to learn how to use different formats, I have used a lot of digital recently out of complete laziness and I am going to use film a lot more and just get used to it as I think if it's done well, the results are so much better. Also I love polaroid, so tried to use that whenever I could (having no money didn't help) and I am waiting for the relaunch of polaroid in January... woop woop! I am saving up to buy a Polaroid land camera and a medium format as I would love to shoot on those two a lot more.

What influences your photography?

Everything. Mainly people. I live in Brighton and there are a lot of interesting characters around.

The Internet has transformed the way people create, disseminate and consume art. How has this affected your photography?

In a way, I would absolutely love not to put any of my photos on the Internet and stay away from blogging and all that stuff; just be an artist in my own right, but I am incredibly ambitious and in this day and age I do not feel I will ever get my work seen by the right people unless I rape the Internet. I feel that if I hadn't used Flickr to promote my work I would not be where I am today. Without some of the people I have met and who have changed the way I think and work, I would not be one of the owners and photographers of Gang Up magazine and wouldn't have shot most of the published work I have. If I wasn't on MySpace I wouldn't have had my profile promoted on the homepage and getting my work seen all over the world. So for the Internet I am grateful.

With this in mind, in the last year, your artistic profile has been raised massively: how do you think this has affected you?

I don't really know. I still do not feel it has been raised to my satisfaction so I am just going to shoot and shoot and shoot until more people know who I am. That sounds lame, but I want to eventually work for the biggest publications and need a lot more exposure to get there.

What do you like most/least about photography?

I hate people claiming photos to be photography when they just do not count in my mind. I love people who have a unique style and are doing their own thing but keeping everything they do different. I hate seeing the same thing over and over again. For example, if I was Hedi Slimane and had some of the shoot opportunities Hedi does I think I would try and create something a little more original than the last black and white studio portrait, and if I were Rankin and had a shoot with someone like Vivienne Westwood or Kate Moss I would try and set up something elaborate and unbeatable. However I respect these photographers as business men and think that for simple portrait photographers they are pretty fucking good. They just don't take the same approach I would.

Does your photography say anything about you, or speak for you?

I hope so.

In an ideal world, if there was anything you could shoot, regardless of expenses (money, time etc.) what would you choose to photograph?

If only. I have thought of this situation endless amounts of times but I still can't answer it. It would involve all the people I idolise most, and the people I find the most beautiful - sorry to be shallow! It would definitely have a massive set up and would be so busy that it would need to be printed on a very large scale.

What do you hope to do in the future?

Live in a large apartment with a built in studio in the middle of a busy town like London or Brighton, and spend any money I earn on taking better photographs and taking them in countries all over the world. It is a very optimistic hope but it's how I would love to live.

Do you have a favourite photographer?

David Lachapelle is my all-time favorite photographer. It's a cliché I know, but there is a reason so many people love him. And a reason why so many people dislike him and everything about his work and that is because it is different. It is controversial, original and pushes the boundaries.

I find with my photography that I am always learning from other photographers; with this is mind, do you have any advice for other young photographers as to how to approach the art?

Just do what you want. Don't change anything you do regardless if people like it or not. I have before and it sucks.

Eleni, Approaching Velocity's last interviewee asks: What does taking photos mean to you?

Oh Eleni, why such a tricky one? By the way Eleni is amazing... gotta love her. I have thought about this for ages and don't know the answer. I fucking fucking fucking love taking photographs. I couldn't begin to explain how satisfying I find it when I have done a shoot I am pleased with. And when I haven't shot for a little while... any time longer than a week I start to go a bit mad.

And lastly, what would you like to ask/know about the next photographer interviewee?

Who would you most like to photograph and why?

www.louiebanks.com

www.flickr.com/photos/louiebanks

www.gangupmagazine.com

APPROACHING VELOCITY

Approaching Velocity has plans. We're not just looking for photographers anymore, so if you're an artist and want to showcase your work, or want to help contribute, from articles about art to interviews with artists, editing or magazine layouts, get in touch with Approaching Velocity at approachingvelocity(at)googlemail.com.

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Approaching Velocity's editor is Nicholas Blake, who is thankful for extended warranties.

Never negotiate your milk allowance.

Interview #4 - Eleni Mettyear

2009-10-20T06:53:00.000-07:00

It's been a long summer, and it's pretty much autumn now, but Approaching Velocity is back, with a photographer described as 'probably the best female photographer in Brighton.' Meet Eleni Mettyear.

Approaching Velocity has known Eleni Mettyear's photography for almost a year now, and over the last 12 months, Eleni has continued to amaze and surprise Approaching Velocity with every new set of photographs she takes.

What is your background to photography?
I always enjoyed using cameras and being in front of them as a kid, and through my secondary school years I became aware of photographers and using photography as an art medium. So when I was given the option to take photography A-level just under two years ago I jumped at the chance. So that’s when I really began being interested properly in photography.

What influences your photography?
My main influences are people and fashion, and how fashion can express a person's character. I also love dressing my models up as things that have nothing to do with them, just turning them into something that helps create the image I’ve got in my mind, I guess I like seeing the transformation.
Other photographers and locations influence my work massively too, other people's work always is the trigger for any idea I have and it’s hard sometimes to find the balance between copying something and just taking certain influences. I constantly am walking around and spotting locations, sometimes I see one and a whole shoot will come to mind. I always watch films and get so frustrated that I can't just pop half-way across the globe to a desert or some slum in Brazil and do shoots there then pop back home again. Locations inspire me a lot actually.

Is there a particular subject that you find yourself continually returning to and photographing?
Girls and fashion. I don’t think I’ll ever get bored of it, I’m lucky enough to have beautiful friends that are amazing at modeling.

You're constantly experimenting with your photography; using different camera formats, styles and subject content. Is there a particular reason the content and medium of your photography is so varied?
I feel I haven’t yet found my ‘signature style’ and there is so much about photography that I don’t know, so I’m trying to experiment as much as I can until I find what I’m really good at because I’ve had pretty limited training so most of the stuff I experiment with is just me winging it and seeing how it comes out. Also, I’m always being influenced and inspired by new work so I’m constantly wanting to try new styles and fashions; they don’t always work out and sometimes the pictures aren’t all that, but that’s the whole point isn’t it - experimenting.

Nearly all your photographs are photographs of people. Why?
Yeah, I don’t really know why. When I first started photography I was really into street photography taking pictures of like destruction and really gritty areas. I still find those places really interesting to photograph but I just got more into fashion and therefore people. I find people really interesting anyway, I can't count how many times I’ve just sat and watched peoples mannerisms without even noticing myself doing it. I just find people attractive I think.

Similarly, your photographs all have elements of fashion (such as in the clothing, makeup or pose); do you consciously go out to achieve this?
Yeah, usually I do. But I usually want the fashion to just blend in with the scene rather than being the main focus. The main focus is always the model or in some pictures the concept.

Do you have a format preference for your photography? How do you feel a film or digital approach makes a difference to your final images?
I really don’t know what I prefer, Polaroid I think is my first love and would shoot everything on that I had the money, I love and hate how film can be unpredictable but in a way that’s the beauty of it. Digital still is brilliant though because you can do so much with it and really get that perfect shot you got in your mind. Where as with film you just kind of wait and hope that they will be alright. I dunno what I like more though its all lovely.

The Internet has transformed the way people create, disseminate and consume art. How has this affected your photography?
Yeah, I'm never really sure what to make of it to be honest. Flickr has been amazing and kind of got me noticed and stuff but then I think there is so so much on the internet that you just kind of blend in with the rest. And I don’t really know how to get art noticed, or where you can go with your skill or talent if it's not through the internet, but in a way I wish I wasn’t internet based.

What do you like most/least about photography?
What I like most is the creativity, taking an image from your mind and turning it into reality, how some images can really kind of have an affect on you after you look at it. How it can teach us about other cultures about places around the world and about history, how it just freezes a moment in time. I’m a bit obsessed with early photography of Brighton, streets that I walk down everyday are totally transformed from how they used to be, and the New York gangster scenes in the 20’s and 30’s I think it's wicked that its all captured in a photograph.

What I like least is probably how expensive it all is and annoying anal critics that always have something bad to say because its not perfect, nothings perfect and that’s the whole beauty of it. It sounds silly but I don’t like it when people just discover macro on the digital camera and take photos of the hairs on leaves and call themselves photographers... there is probably a lot more that I like and dislike about photography but my mind's hurting - I’ve been typing too long and it will bore you to death.

Does your photography say anything about you, or speak for you?
I don’t really know, I think only other people that know me and have seen my work would be able to notice if it does or not.

In an ideal world, if there was anything you could shoot, regardless of expenses (money, time etc.) what would you choose to photograph?
Wow, I need to think about this properly. There is a lot of stuff that I’d want to shoot the list could go on so I’ll only give you a couple. I would love to do a proper underwater shoot with proper lighting and all that, with like 5 models with loads of random props amazing fashion and really extreme high heels and light bulbs hanging from the waters surface, obviously its not gonna happen but I’d like it to. I also dream of doing a fashion shoot where the models are suspended above New York so it looks like they're falling.

Do you have a favourite photographer?
I have too many favorite photographs, ranging from famous fashion campaigns to random pictures on flickr that I don’t even know the artists name. A few favorite photographers are Corrine Day, Ben Watts, Bruce Davidson, Weegie, Boogie, Guy Bourdin, Helmutt Newton, LaChappelle, Arbus, DarkDaze, Nan Goldin, Rankin... the list goes on, but I know I also have so many more to discover so they always change.

Alsi Kolcu, our last photographer, asks, 'why do you shoot?'
Sometime because I’m bored and get jealous of everyone else’s good photo’s that I want to see what I can come up with. But mostly because I want to get the image in my mind out and turn it into reality, it never works out how I plan but I do what I can.

And lastly, what would you like to ask/know about the next photographer interviewee?
What does taking photos mean to you?

www.flickr.com/photos/elenimett/
www.elenimett.tumblr.com/

APPROACHING VELOCITY

If you'd like to be considered for an interview, or know someone talented, get in touch with Approaching Velocity at approachingvelocity AT googlemail.com explaining why and with links where appropriate.

AV #4 Buy a diary, and manage your time. You'll achieve so much more with your days and weeks. Just remember to take time off and improvise sometimes...

Please respect our copyright.
Words (c) 2009 Eleni Mettyear / Nicholas Blake / Approaching Velocity.
All images in 'Interview #4' (c) 2009 Eleni Mettyear.
Approaching Velocity's editor is Nicholas Blake (www.nicholasblake.org) who has had a lot on recently.

Interview #3 - Asli Kolcu

2009-07-12T05:48:00.000-07:00

On the cusp of a week since its last interview, Approaching Velocity is proud to present its third photographer - Asli Kolcu.

Asli Kolcu's photography is unashamedly striking, exuding a confident vision and a maturity that has seen this photographer already achieve international success.

What is your background to photography? - when, how and why did you begin?

I 'started' photography four years ago. I have been self-taught up to this point. This year I applied to a bunch of courses and got into Middlesex University, skipping foundation and first year, with a scholarship too - I couldn’t believe it - I am now enrolled and going to London in September.

What influences your photography?

People in general. I love examining small details of life and the patterns of human relationships – I have an interest in the psychological and sociological webs that affect them.

Is there a particular subject that you find yourself continually returning to and photographing?

I keep returning to patterns of love, the dilemma of letting go our childhood - or trying to hold on to it - and rites of passage.

One reason your photography stands out so much is that each photograph feel drenched in meaning – everything in the photograph seems significant, and each 'set' you create combines colours, textures, props, symbolism and subject matter very successfully. How much planning and forethought do you put into your photographs – and how much would you say your photographs do have meaning?

I would say most of my photography (minus the beauty and ‘simple’ fashion work I do for mainly commercial part of the medium) carries a meaning. I don’t necessarily try to portray a meaning with the objects to the viewer but try to show myself what I feel perfectly. This leads to my excessive obsession about the details; my ideas pop up randomly - I don’t plan the concept or the general aspects of the shot, like how the model should look, what kind of a dress would be used, what kind of items should be used. Of course for the more specific choosing processes I take my time to find the perfect pieces or make them. Rarely even, the idea is improvised, like one of my favorite photos, Shoot Me was supposed to be a completely different shot, but didn’t work so I ran around to find the objects and shot it - but most people would have guessed 'the idea” was already there it just got altered a bit.

You've stated that you're very interested in people and their relationships. In many, the people are not the primary focus of the photograph, often instead being overwhelmed by what is going on around them. What role do you feel people play in your photographs, and what is their relationship to the rest of the photograph?

What I like doing is showing what is in their head in their past and what symbolizes this. I pick small details about their psychological state and history to portray an aspect of their character. I guess a good way to describe what I see as my photographs would be a person standing in it’s thought bubble surrounded by what isn’t physically there.

Equally, the people you photograph seem very vulnerable or exposed; your use of the camera is quite aggressive – you often stand taller and 'loom' above those in the photographs, or are very close and tightly centered on a person, leaving them no room. Is this something you are aware of, and set out to achieve?

I agree with you - I think it is because my photos are so personal. When I shoot any photo it feels like I am doing a self-portrait. However, I am one those people that has a wall in front of them no matter how open they are - there is a possibility as I portray what is in my head I put the person in my shoes and tend to show their vulnerability about being 'seen'.

Do you have a format preference for your photography? How do you feel a film or digital approach makes a difference to your final images?

I like film better, but not because of the general arguments. I love it because I love the anticipation of waiting for the results and also I like the darkroom process (even the smell of it hehe.) Sadly in real life I can’t yet pursue this because I can't deal with all the processing and printing fees. I just like seeing all the shots in the real size as it was intended. When I was doing just film I used to finish at least 10 rolls a week and it is about £5-10 in Istanbul to process each one and get it on CD - a bit too expensive! I wish I had my own darkroom, nothing beats the feeling for me.

How much would you say digital photography and extensive post-processing applications has affected you as a photographer?

Well it didn’t effect the post-processing part since anything I do on photoshop I can do in a darkroom. However, it affected my development a lot. Whether it is good or not for quality differs, but it is a fact that you can see your mistakes quickly, and therefore it is time efficient and it gives you the opportunity shoot bigger numbers of images (at least for me).

The Internet has transformed the way people create, disseminate and consume art. How has this affected your photography?

I love “Ways of Seeing” when it comes to how we consume art. What we see before and how we see it really changes our reaction. The Internet isn’t same as seeing a human sized print in a gallery on a plain wall. That is the negative side but it also helped me a lot. I've been a member of DeviantArt for 4 years now, and as much as some people think it is a horrible platform it has helped me develop due to the amount of access I have to new and upcoming artists, and because of some the constructive criticism I get. I have also had several exhibits because some curator found my work online - I got my art director job in Istanbul Street Style the same way! The Internet gives us easy access but that is it - how to get better is our own decision.

What do you like most/least about photography?

Well I am one of those people that isn’t so greatly fond of their work. I love the saying, 'if an artist thinks a piece is complete he isn’t an artist anymore'. I like the fact it’s personal and detailed. I don’t like the fact that at points requires excessive amount of funding (some of my new projects) and I also hate my perfectionism - when something is that detailed there is ALWAYS a flaw somewhere

Does your photography say anything about you, or speak for you?

Yes it definitely does. All of my photos reflect me and my point of view on the subject. It shows how I see that aspect of the person or the imaginary figure in my head

In an ideal world, if there was anything you could shoot, regardless of expenses (money, time etc.) what would you choose to photograph?

I still would stick to my scrapbook since there are some ideas there I can’t do because of the expenses. The first one I would do would be my Birth,Flight,Life. There is a piece there that requires a 7’ textured slingshot which costs a bit too much and I have no skills to make on my own.

Do you have a favorite photographer? Why?

I have many. Tim Walker for one - I love how he got the Vogue editor with the butterfly net picture and I love fairy tales so he sort of wins from the beginning. Eugenio Recuenco; I discovered him very recently so I fail pretty hard but I adore how detailed and eccentric most of his work is, it is very clear a lot of work goes into it. Mischa Gordin; I know the traditional darkroom process - it is impressive how creative and well manipulated the work is. I also like Atta Kim and Floria Sigismondi... the list can go on!

You're less than a year older than me, yet your photography already seems to have already garnered much attention. How has this affected you? In particular, where do you wish to go with photography in the future?

Well it made me very happy and also really encouraged me to take this to another level. I am starting my studies this year and I will choose this as my career. I recently got interested in fashion photography so planning to do that as well I want to create scenes that combine my style and details with fashion. I also write so have some projects combining both mediums.

I find with my photography that I am constantly learning from other photographers; with this is mind, do you have any advice for other young photographers as to how to approach the art?

Well I would say shoot that idea in your mind. Practice does make perfect. You can’t find out how to take a good photo sitting there and reading this! That is for starters though after you are comfortable with you technical knowledge don’t just point your camera at a model and shoot it: find something only you can find be it a detail an angle something you see in what you are shooting. Make it count. Also, don’t be afraid of trying out new things - experimenting helps a lot. I find great ideas whilst viewing others - I am not saying go copy them but seeing ideas will also inspire you!

Keri-Anne Pink, our last interviewee, asks, 'How would you describe your work in three words?'

Dreamy, detailed, and melancholic

And lastly, what would you like to ask/know about the next photographer interviewee?

Why do you shoot?

http://www.aslikolcu.com/
http://www.facebook.com/aslikolcuphotography
http://twitter.com/AsliKolcu

APPROACHING VELOCITY

If you'd like to be considered for an interview, or know someone talented, get in touch with Approaching Velocity at approachingvelocity AT googlemail.com explaining why and with links where appropriate.

AV #3 Exude a confidence that you don't have - it's gaurenteed to get you places you never knew you could. Not neccessarily the right places, but somewhere.

Please respect our copyright.
Words (c) 2009 Asli Kolcu / Nicholas Blake / Approaching Velocity.
All images in 'Interview #3' (c) 2009 Asli Kolcu.

Approaching Velocity's editor is Nicholas Blake, who is not the Stig.

Interview #2 - Keri-Anne Pink

2009-07-07T10:40:00.000-07:00

It's been far too long, but Approaching Velocity is back with its second interview, featuring photographer Keri-Anne Pink

Keri-Anne's vivid imagination and an unconventional approach of using over-exposure as an integral part of her photography create a dream-like state far removed from many of the every day scenes depicted in her work.

What is your background to photography?

I became interested in photography around five years ago. I had a little point and shoot camera and loved just shooting anything I saw. I loved being able to look back a few months later and remembering a particular moment. Eventually I became more and more passionate and realised that I could get so much more out of photography. I started reading magazines and pouring over peoples photos online and wishing that I had taken that photo. This gave me the determination to learn and learn.

What influences your photography?

Fairy tales, beautiful meadows, woods and streams. I have such a vivid imagination and ideas appear in my head so I carry a notebook around which I write these ideas down. It could just be a title or word or a full description of how I want a photograph to look.

Is there a particular subject that you find yourself continually returning to and photographing?

I tend to always return to childhood memories - rocking horses, paper boats, dolls houses - I like to bring an innocent fairytale like feel to my work.

Your use of over-exposure creates very dream-like photographs that seem removed from the 'real' world. How did you develop a preference for this kind of photography? Is this something you always set out to achieve in your photography?

I don't think this was ever the look I set out to achieve for my work. It just kind of fell into place. When I take photos, this is just how they end up becoming. It must be subconscious. I am happier with my work when it has a dreamy quality to it. I feel more connected to it.

Equally, whilst your photographs seem removed from the real world, so too does any relationship to the people in your photographs. You seem to purposely 'cut off' limbs and heads, making the people rather detached from the rest of the photograph and the viewer. Are you aware of doing this, and why do you do so?

Yes I am. I actually had a comment on a photograph this week from a girl saying that it seems to be a trademark of mine. Half hidden faces, half hidden bodies. When I first started out, I wasn't interested in using people. I wanted to take photos of nature and any scene that I found beautiful or inspiring. I am very self-conscious and never really dreamed of having myself in my photographs. The more and more I grew up and the more my photos developed and the more my imagination took over, I realised that to tell the story, I needed to be confident to get in front of the camera. Eventually I hope to be confident enough to include my whole self. It has only been the last six months or so where I have felt the confidence needed to not only be the subject of my photograph but also to share it with other people.

You recently stated that you're starting a new project entitled 'lonely dresses' – tell us more about it!

This is very exciting for me. At the end of 2007, I was shown by a very dear friend a series of photographs by Belén Dezzi and Remo Bianchedi called La mariée mise à nu y el regreso del Sr. Lafuente, incluso. The photographs were so beautiful and were really engraved into my mind for months. It was a series of floating dresses in beautiful places such as staircases of grand mansions. I tried to do my own take and took some photographs but my technical knowledge was minimal and I wasn't really happy with the outcome - I had a brand new SLR camera and didn't really understand it or its functions!. Around three months ago, I came back to these photographs and knew that I had to re-do them. I have pondered over them and want to see how far I can push my imagination.

Do you have a format preference for your photography? How do you feel a film or digital approach makes a difference to your final images?

I have always either used digital or a polaroid for my work. I have used film a few times but I have only just got my head around digital photography and the developed photographs were not what I wanted or expected. This, along with lomo cameras (a Holga and an Anny camera) are what I really want to start exploring. I love the idea of film. With digital, you can tweak pictures using editing software but with film and lomos, it's all done beforehand, which really excites me. Right now I am a full time mother to a baby girl and I would really love to explore film so much more. I just need to find that time and hopefully in a few years, I can build my knowledge (and confidence) with film.

How much would you say digital photography and extensive post-processing applications has affected you as a photographer?

It has only been recently that I have learnt about post-processing. I went through a phrase of using it a lot but I got so frustrated that I couldn't produce an effect without using post-processing. I am learning so much more now about my camera and different things I can use before and during the photo to achieve the look I want without having to use editing software.

The Internet has transformed the way people create, disseminate and consume art. How do you feel this has affected your photography?

Having the internet is like travelling. When you go to a different country, you can become inspired by the architecture and culture of that country. It is the same with photographs. Seeing so many varied styles and so many different peoples work from different countries can inspire most artists. I have a Flickr account where I can view work from people all over the world and I get really inspired. Some of my photos have been inspired by others and without having the internet, I would never have seen that work so my photograph would never exist.

What do you like most/least about photography?

I can become so frustrated with trying to get the camera set up for a shot beforehand. No matter how many books and tutorials I have read, for some reason I sometimes just don't understand apertures, f-stops and exposures - they still really confuse me but I never give up and I do get my shot in the end. I get a great sense of achievement when I have my completed shot as I know I worked it all out myself. I have never had a photography lesson and have had to learn everything myself. My most favourite part of photography is imagining up all the photos before hand in my head and then seeing the final outcome just makes me extra happy.

Does your photography say anything about you, or speak for you?

I have a passion for anything dreamy and nostalgic. I tend to live in my own fairytale half the time and I try to create work that I would love to stare at all day myself.

In an ideal world, if there was anything you could shoot, regardless of expenses (money, time etc.) what would you choose to photograph?

I would love to do an underwater mermaid shoot. Long floaty dresses, long floaty hair and a lovely sun beam straight onto the model. It is a dream shoot and I WILL do it one day. I just need to find a big swimming pool or have the confidence to plunge myself in the middle of the sea and having a willing model, a boat, a wetsuit, a good waterproof camera etc. I would also love to do a Grimm's fairytale series. Having one shot for every fairytale. And also I would love love to do a shoot based on the nutcracker. Oversized mice, dolls, soldiers, tin drums! The Nutcracker is my most favourite ballet and to do a shoot based on it would be a dream.

Do you have a favorite photographer?

Tim Walker! His work is like a dream. I aspire to have work that amazing! He is such a big inspiration. http://www.thomastreuhaft.com/Tim_Walker/tw.html

In the future, where do you wish to go with photography?

I actually want to write and illustrate children's stories and fairy tales. The illustrations will actually be my own photographs instead of paintings or drawings. I love having stories in my head and then being able to do a photo shoot based on that. I would love to sell these books but I also want to make private ones for my daughter when she is older.

I find with my photography that I am constantly learning from other photographers; with this is mind, do you have any advice for other young photographers as to how to approach the art?

Yes. When I started, I was scared to ask other photographers for help or ask how they created a certain photograph. Eventually, I plucked up the courage and asked people's help and was so surprised with how lovely and helpful people were! I have learnt so much from others. If I get a message now asking about my work, I am more than happy to help out as much as I can. If you want to ask a question, you should just ask! You will be surprised with how willing people are to help you out. Everyone started with no knowledge in this industry and even the most famous photographers wouldn't have gotten where they are today without others help.

Bella Kotak, our last interviewee, asks, 'What is your favourite time of day to shoot photographs?'

Sunset! The light is so rich and pure. I love the feel it gives to my photographs.

What would you like to ask the next photographer interviewee?

How would you describe your work in three words?

Thank-you Keri-Anne.

See more of Keri-Anne Pink's work at http://www.flickr.com/photos/gingerlillytea & buy prints here http://www.gingerlillytea.etsy.com

APPROACHING VELOCITY

If you'd like to be considered for an interview, or know someone talented, get in touch with Approaching Velocity at approachingvelocity AT googlemail.com explaining why and with links where appropriate.

AV #2 Play nice - 'nice' is the worst descriptor to be applied to something, so dear Reader, interpret as you will. Approaching Velocity - making you think, even when you don't want to.

Please respect our copyright.
Words (c) 2009 Keri-Anne Pink / Nicholas Blake / Approaching Velocity.
All images in 'Interview #2' (c) 2009 Keri-Anne Pink.

Approaching Velocity's editor is Nicholas Blake who is unbelievably out there.

Interview #1 - Bella Kotak

2009-06-10T11:48:00.000-07:00

Approaching Velocity is extremely proud to present its first ever blog interview featuring photographer Bella Kotak.

Bella Kotak is an extremely talented artist with a great imagination and an exceptional eye for photography and post-processing - and not a dSLR in sight.

What is your background to photography -when, how and why did you begin?

I've always had an interest in taking photos since I was very young: at first with my parent's film camera, and later when I was older and had my own digital camera. What I always loved to do was to catch moments and then later I used to love the reactions my photos got from my family. Once something is caught in a photo you feel that it is timeless and that memory is never forgotten.

What influences your photography?

My main influences would be art, music, and books. I've always been an avid reader and I suppose this has fueled my imagination. I like creating different worlds, and for me the way I can express that is through photography. Whenever I'm working on the post processing of a photo I've always got music on in the background, and to an extent I think that also influences what direction the photo goes.

Is there a particular subject that you find yourself continually returning to and photographing?

I'm currently undertaking a 365 project - quite simply a self portrait every day for a year. So lately the particular subject that I find myself continually returning to is myself. However when I am out and about with my camera I do find myself photographing faces. I like capturing unguarded moments when someone isn't conscious of their surroundings and are just themselves without pretence.

Many of your photographs involve you outside. Is this a conscious decision, your interaction with nature?

This is a conscious decision as I love working with natural light - and what is more beautiful than a natural surrounding? Being outdoors makes me feel more creative and free in what photos I want to take plus there is an energy that cannot be captured indoors under artificial lighting.

You have a quote on your Flickr profile page, 'Come play with me in my fantasy worlds where colours run free and randomness is rampant...'; how important would you say fantasy and imagination are to understanding and appreciating your photography?

I would say that it's always important to approach life and anything with an open mind free of judgement and preconceptions. I like taking a mundane everyday setting, item or prop, and transforming it into something wonderful and magical. It's almost like recreating life when we were young and there were no real limits as to what was real and what wasn't. Anything was possible (fairies, flying, santa :p) and it's this feeling of innocence and imagination that I try to convey with my work.

Do you have a format preference for your photography? How do you feel a film or digital approach makes a difference to your final images?

I've never really known how to work with film... it's an art form that has eluded me. The digital approach has really made a difference as I'm now so much more "free" in my style of photography and processing.

How much would you say digital photography and extensive post-processing applications has affected you as a photographer?

Like I mentioned, it allows me to be more free and creative with photography. It allows me to basically make good shots great and to do it quickly. I can create a work of photographic art in about 20/30 minutes. It's also what's got me hooked and always striving to be better and improve. Another thing about the perks of digital photography is that you don't need to an expensive dSLR to create wonderful photos. All my photos are taken using a Sony DSC-W130 point and shoot camera. Having a smaller camera should never be a deterrent.

The Internet has transformed the way people create, disseminate and consume art. How has this affected your photography?

I think it's a fantastic way to get started and later established. I was always keen on taking great photos and for the longest time the only people really seeing them were friends and family. Flickr has allowed me to get my photos to a wider audience, an audience that knows photos and can help you become better just by pushing you. No one can remain on a photo sharing website for so long and not improve. The good side to having a profile of yourself on the internet is that you are stepping out of the bubble of your own world and meeting and sharing with people who are as passionate (if not more so) about photography as yourself and this really does make me strive to be better. Creating a name for yourself is not easy among all the other millions of people but at the same time my philosophy is that there is no harm in trying and trying again.

You blend visual art and photography very successfully in your photographs. How do you go about from concept of a shot to execution of a photograph? Do you have any particular methods you use to capture an idea?

I don't have any particular methods. I always have a book on me for general day life jotting down. Any idea I do get which I think is fun and that I'd like to take is quickly noted down before I forget it. Then it's really a matter of getting on location or looking for the right location, setting up and just going for it. Sometimes I even get a completely different photo from the one I originally intended to take! The main magic happens in the post processing for which I use Photoshop CS2.

What do you like most/least about photography?

I like most how photography manages to capture moments and create images that relate to the viewer. That's really important to me. Least, I'm not sure. I suppose what I like the least about photography is how easy it is to take someone else's work and either relabel it as your own or completely steal someone else's concept and execution and call that your own "original" work and using that to make a name for yourself. This happens far too often and the problem is that it is so easy and who would know? It's also far too easy to just use photos commercially without credit to the photographer - there should really be stronger rules.

Does your photography say anything about you, or speak for you?

Yes I'd like to think that my photography says a lot about me as I do feature in most of them : ) Many of my photos sum up how I feel at the time or what thoughts were running through my head that day. I like to think of it as my visual diary.

In an ideal world, if there was anything you could shoot, regardless of expenses (money and time for example) what would you choose to photograph?

I'd love to get underwater and create worlds there. I'd bring a house down there and fill it with fabulous furnishings and people and children all living a weightless life!

Do you have a favorite photograph or photographer? Why?

I have lots of photographs that I love - most of them tend to feature people. As for photographers I love the works of Eugenio Recuenco, Howard Schatz, Eolo Perfido - there are lots more too!

In the future, where do you wish to go with photography?

A career in photography is the next step. I'm currently working up a website and am already pursuing getting jobs photographing for shops and with models.

I find with my photography that I am constantly learning from other photographers; with this is mind, do you have any advice for other young photographers as to how to approach the art?

To approach anything you have to start getting involved. I would say find someone who inspires you and see how they started out, and more often than not you'll see it was simply by just getting stuck in. At the end of the day, keep on with it and you'll only get better. Another important factor is to always remember to have fun!

You are the first person to be interviewed – even though you don't know who the next interviewee is, if you had to ask them something about photography, what would it be?

My question for the next person would be, 'What is your favourite time of day to shoot photographs?'

Thank-you Bella for your time.

See more of Bella's work at http://www.flickr.com/photos/bellakotak

APPROACHING VELOCITY

If you'd like to be considered for an interview, or know someone talented, get in touch with Approaching Velocity at approachingvelocity AT googlemail.com explaining why and with links where appropriate.

AV #1 Stay cool - wear sunscreen in the sun, especially when it's windy. You know it makes sense.

Please respect our copyright.
Words (c) 2009 Bella Kotak / Nicholas Blake / Approaching Velocity.
All images in 'Interview #1' (c) 2009 Bella Kotak.

The Editor of Approaching Velocity is Nicholas Blake, who just is.