While I am definitely a huge fan of my digital camera and Adobe suite, I quite like to experiment with vintage cameras with light leaks and old film and all that jazz. (Super hipster, I know.) It’s kind of like an old school version of Photoshop built right into shooting… how cool is that?!

These were shot on a Coronet Cadet I adapted to use 35mm film (using a bit of handy dandy BluTac)…. clearly a couple light leaks, but I think they turned out kind of cool no less!


While wondering around London’s Southbank Festival of Britain festivities earlier today, I bumped into a swell little exhibit atop the roof of the Hayword Gallery that I thought I’d share!

The photos, part of a series entitled ‘Helmand’, are by photographer Robert Wilson, where he photographed closeups of troops in Afghanistan’s conflict region a few years ago. I suppose there are a lot of photo series covering the war and things around that, but it was interesting to see the story told through straight portraits. It was kind of like each photo told an entire story of its own – of each person’s experience – in a kind of in-your-face but contemplative way. ‘Twas also super cool to see it out in the open air on a roof which added to overall impact, I think!


To check out more of the series and see some of Robert Wilson’s other work visit his site here.

I’m excited to be attending the Magnum Professional Practice event in Liverpool this weekend, thanks to the fine folks at IdeasTap!

I submitted a series of five images from an ongoing exploration of the relationship between the subject and environment in portraiture photography (check out the submitted ones here) and was selected as one of ten applicants to receive a bursary place to attend the conference! It is led by industry professionals and sponsored by the reknowned photo agency, Magnum Photos.

Lots of excellent photographers will be speaking and doing workshops, so it promises to be quite exciting! While I am sure they will all be awesome, I’m particularly looking forward to hearing Jessica Crombie, humanitarian photographer and founder of Humanising Photography, whom I have long admired!

“If I can make you think, or if I can make you feel, my job’s done. That’s my passion.”

Cale Glendening is a freelance photographer and film maker, and definitely an inspiration!

The above music video, created for musician Van Risseghem, is an excellent example of this. Even though the budget was incredibly limited, the final project is a beautiful visual narrative of the song. As he writes on his blog, “We have to stop making excuses and get out there and CREATE!” I suppose it goes to show that a good idea will trump uncertain circumstances any day.

He also relatively recently travelled to Indonesia to photograph and film the Mentawai Tribe – he found a story he wanted to tell, and so he went and told it; awesome! Perhaps it’s his passion that make his work so remarkable?

Last week, I was lucky enough to interview photographer Matt Sartain about his work, process, and inspiration for a blog I’ve been contributing to called Feature Shoot. Below is a snippet of the full interview in which he discusses the influence of digital methods on his work!

Your work very much utilizes digital manipulation and composites. Do you think this method of creation adds to the narrative strength of your work? If so, how?

‘Besides the color and toning in Photoshop I would be happy to do all of these things in camera. Truth is it’s often not practical and sometimes not even possible to do what I want in camera. Often times the use of compositing and manipulation is a more accessible way to get something that would otherwise be out of my budget. I hope to do more practical in-camera imagery as the budget for my work grows. The less compositing the better as far as I’m concerned, so when I use that technique it’s because the decision has been made from a production standpoint. Before any shot goes into production I consider what I have (time/money/location/crew) and then decide what I can do in camera and what I do in post. Often times images that would require an enormous crew, rigging, permits, etc. are just me and one other person – compositing allows for a lot of freedoms.

‘The role of compositing has had a remarkable effect on my photography. I remember when I first began to construct images – I started small and went bigger and bigger and bigger. I was excited when I discovered that my work was only limited to my imagination. There’s something really empowering about feeling like there is nothing I can’t create – I don’t mean that in a cocky way, I mean only to say that I’ve discovered my strengths and weaknesses and I know that if I can concept an image I can create it’.

Check out the rest of the interview here!

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