Pixelheads is a new and occasional feature for this blog. When the mood takes me and circumstances allow, I will interview a random person about their photography. The interviews will not be with professional photographers – those can be read in abundance elsewhere. I’m interested to find out what makes a non-professional photographer tick.
Here is the first Pixelheads interview:
I asked her about her life, photography, influences and tastes.
What do you do for a living?
I’m an office manager and designer and to progress my designing career I’m interning at a Bath design agency.
When did you get into photography?
When I moved to Bradford on Avon in 2009, the place inspired me to start taking pictures.
What cameras do you use?
I have a Nikon D3000 with 18-55mm and 55-200mm kit lenses, and a 50mm f1.8, which is my favourite lens, a Canon Powershot S90 and a Polaroid 500.
The S90 is my main carry-around camera, with the D3000 being for more complicated stuff. I love using the Polaroid camera, but the new film doesn’t work well through my camera because it’s a bit volatile in daylight, so I need to find packs of old stock.
What kind of pictures do you like to take?
I’m a bit of a mixed bag really. I went through a big macro phase when I had a macro-enabled bridge camera – shooting things like Lego minifigs (Minifigures), but I’ve got into shooting derelict buildings because I like grime and decay. Street photography too, though not so much of that now.
Tell me more about the minifigs shots.
I started with standard figures, then they brought out series of figures (Star Wars, Batman) and I’d buy a handful of those. I’d set up film themes like Psycho, Forrest Gump sitting on a bench, that sort of thing.
No, the arms don’t go out the right way for that, but I did The Shining. But I stopped doing those pics and sold most of the minifigs. I go through phases really.
Why not the street photography so much now?
I enjoyed it, I used to snap away and not care, but had some run-ins with people complaining and I sort of lost confidence. It doesn’t float my boat as much now.
And the derelict building photography; what draws you to that?
I’ve been to a few places; hotels old factories, that sort of thing. Obviously you have to be very careful, but it’s so interesting to capture the essence of a place. Getting a sense of what was there before, the life that was there and what used to happen. One hotel I visited still has a website as if it still takes bookings, which is quite funny.
Which photographers do you admire?
Martin Parr; I understand his approach. I just think his photos are amazing. The New Brighton series especially.
Don McCullin also, his conflict work. The landscapes don’t do it for me, but I understand why he had to do them – to get his brain back together again. Then if we’re talking portraits, it’s got to be Jane Bown.
What’s next photography-wise for you?
At the moment I’m devoting more time to my design work, but looking forward to seeing Martin Parr’s exhibition at the Bristol M shed when I go with the Bradford on Avon Photography Group soon.