artist talk, documentary photography, fashion, guest speaker, photography, Richard Kelly, Rick Kelly

Richard Kelly, our latest guest speaker

As we are getting closer to completing the final year, we are not going to have any more tutorials, only individual meetings with our tutors. Last Wednesday, Richard Kelly was our latest guest speaker.

Richard Kelly worked with us in the studio in the first year of our studies. Recently, we also had a lighting workshop with him. However, this time he talked about his photographic career and experience of working with many clients, in many photography fields and doing his personal projects.

He started his photographic career as music bands photographer. He moved on to fashion and was commissioned for Dazed magazine, Elle magazine and shot covers for many other.

His advice was to be flexible and work very fast, as often we don’t get to dictate the rules and will have to work to client’s time scale. For example: when Kelly photographed Amy Whinehouse, he had about 5 to 10 minutes for the shoot; when he photographed a band, he had to shoot in the middle of a night etc. This is one of the reasons why he enjoyed working in fashion best, as he had control of the shoot, the lighting and posing in opposition to bands where he could not choose much, as the client is the one who always dictates the rules.

He was commissioned by Cadbury and claimed that client-based work funds his personal work, as commercial work often pays well.

Fred Perry Way – Ping-Pong and tennis player asked him to create artistic work and payed for it, so according to Kelly this kind of work is always best, as you do what you love, you can shoot what you want, you can be the artist and get payed for it all at the same time.

Kelly has made a few personal projects and his latest one involves a group of young men living in Manchester. He told us that is very difficult to create documentary work, as those people aren’t used to be photographed. That it takes time to get to know the subjects and to negotiate their trust. Similarly, it takes time to make them look relaxed. He recommended to always explain the project, to tell the subject what we want from the shot, ask them what they want from the shot and clarify where we will use the photographs. While photographing people he advised to always talk to them, as it relaxes them, and the more relaxed they look the better the image. When doing commercial work, he also recommended to do something we want, not only what the client is asking for. For example, if we have different ideas how to make the photographs that we should go for it, as we will have something for our portfolio or a new exhibition. To try to think about the bigger picture. I must agree about talking to the subjects, about the difficulty of creating documentary work, so as building subject’s trust.

Kelly also advised us to do the job that pays well even if that it doesn’t interest us. He also told us to get in touch with him after university if we need any help or advice on starting to work in the photography industry, or assisting jobs as he could recommended somebody.

Have a look at Richard Kelly’s website where you will find many other interesting work.

rkellyphoto.com

Alex Beldea, artist talk, documentary photography, final year, photography, university

Working in Photography by Alex Beldea

University of Huddersfield careers and employability service offer a range of guest speakers and workshops to attend. I recently joined “Working in Photography” by Alex Beldea.

Alex Beldea studying PhD in our university and we’ve had a few tutorials with him last year. However, this time he talked about his career in photography, his experience as professional photographer, his clients and job opportunities. I will mention a few of those:

Back in his country, Romania, he worked as a sport photographer. He came to the UK over 7 years ago to study photography. While studying, he volunteered for 3 years where he photographed musicians for HCMF. He claimed that both jobs improved his technical skills.

He volunteered as events photographer for University International Office. His volunteer job lead to many paid job opportunities.

He then took a placement year and worked at photo studio Hylton Photography in Leeds. It taught him how to deal with clients, see real photography work and improved his technical skills. This job opportunity lead to many collaborations, as Beldea is still working with Hylton and until now both photographers help each other.

Through university he gets many opportunities to cover events, in one of those he had a pleasure to photograph a royal family visit. He stated that it was stressful and challenging, as he only had 5 minutes for the shoot however, he claimed that it was a very good experience.

He worked for the University gym Team Hud.

He photographed York chocolate story museum Treat or Trick walking tour.

He photographed DJs, celebrities, food photography – still and moving image for Epicure.

Photographed Wander-clothing collection.

Discover Magazine-researchers within university.

Every summer for about two weeks he shoots Graduation ceremonies at the university, he works from 8am to 5pm, then edits at night.

Photographed costumes for final project costume departments.

Commissioned for Manchester Gallery as international photographer to exhibit his work about Manchester- Second Home

He worked on many personal projects. The Last Shift is about coal mining in Romania which is planned to be closed. He photographed coal mining workers who will soon become redundant.

In Tunisia, Beldea is making a project about a refugee camp. He is photographing and raising money for 35 refugees who are struggle financially.

Alex Beldea’s tips are: to be patience; work hard and find a way to show your work; work in many photography fields, as you will gain new skills and it could lead to more job opportunities; look for places to get feedback; join portfolio reviews, for example Red Eye in Manchester, Photo Meet in London; attend conferences as you may end up having exhibitions and this is the best way to show your work; alongside professional photographer’s jobs do internships or assisting jobs, as again you will improve your technical skills…

What a brilliant talk, one of best I ever attended. In my opinion Beldea is a very talented photographer and I love his commercial work, so as documentary; especially Valid for Travel. I always look at his photographs when looking for inspiration. Thank you, Alex, for sharing your story and giving us very useful advice.

If you would like to see some more work by Beldea, I will recommend you visit his website

alexbeldea.com

Uncategorized

Talk and portfolio review by our Guest speaker Theo Simpson

Yesterday, Theo Simpson visited our university and gave us a fantastic talk about his practise.

Firstly, Simpson talked about another photographers’ work who influenced his practise. William Christenberry’s Green Warehouse, 1978 was one of the first image which made Simpson realise that he wants to become a photographer. To be able to use his visual language in communication. According to Simpson this image isn’t just a depiction of a green house, but the photographer’s dedication to the subject matter, as he became friend with the owner and for 25 years, he returned to the place every year to photograph it again and again and again. John Smith’s photographs inspired Simpson in a way that he realised that the photographer doesn’t have to travel the world to create amazing work. As Smith made his work in his door step, no further that 3 miles away for his house. Paul Graham’s Beyond Caring, 1986 gave Simpson the idea of how powerful the photography could be within communication in the world. Graham couldn’t photograph in job centre, but somehow, he manages to use his large format to make a very powerful photograph which carries historical context of high unemployment in the UK.

When Simpson finished university, he became one of those unemployed, it made him think why did he studied? Why does he want to make photographs? Are his photographs enough to talk about his thoughts? He started to make photobooks. He was always interested in consumerism, technologies, news feed but also what’s under his feet-as landscapes. He thinks that the life we are living in are completely manipulated by all the above.

Photography for Simpson is the experience of exploration of the world and the communication to people. He thinks that good work come from original thoughts and expressions. Very useful advice, as he told us to think what makes us different than the others. Book making process taught him the understanding of materials, the discipline and the level of sacrifice. He used multiple visual languages in his work; different materials, variation of printing technics, scans of the objects, photographs of surrounding, objects etc. He believes that photographers toolset become limited, as there is a lot to consider when making photographs; like the lighting, location, time of the day, what camera do you use, what lens, what point of view, angle…

Fallowing the talk, I had a chance to show Simpson my work. He told me that the dept to the story is visible through my dummy book and that I engage with a lot of people. That my portraitures are strong, intimate and quiet. That I should ask myself question if the additional images doing their job. If I really need them. I told him that I am planning to add a text to my book. His advice was to be very careful and to consider what text will I add, as text could be literal, and I could gain something but also lost something. He told me to consider text as French folded, pull outs or hidden. About the introduction for my book, his advice was not to add the text at the beginning but at the end. So, each viewer will go through the book, then read the text which could mean totally differ things that what they thought of photographs. He advised me to look at other practitioners who added text in their work, like for example Sophie Cale-Blind, and to read Working from Memory.

It was a pleasure to meet you Theo and thanks for your advice.

artist talk, final year, photography, Sam Laughlin, university

Video chat with Sam Laughlin

Each Friday afternoon we have timetabled speakers talk at uni. Last Friday we had a Skype video chat with Sam Laughlin, who talked about his work and answers our questions.

Frameworks, 2012-15 are photographs of unfinished building and constructions, emphasising the feeling of monumental and transparency, very strong aesthetically created at nigh through long exposure.

In Untitled, Laughlin was commissioned to document constructions where he focused on situation on construction side. His images appear dark, greyish, not as usual black&white. His tonal gradation was made through exposure and developing the film, not much through post production.

Slow Time, 2014 are the photographs of concrete structure, nature, animals, mountains, texture, etc. taken all over the UK and Europe. A state of mind in a black and white photographs is a main element to this work. Meditative photographs, as a result of slow way of looking and considering what to photograph. When the viewer is placed into this stage of mind,  the connection between objects and nature become visible.

Other interesting works: Nest, 2016 and A certain Movement. The movement of landscape, animals behaviour, man made evolution, environmental crisis, landscape shaped the way animals are adapted to…

According to Laughlin, photographs works on tree levels: 1. aesthetics 2, reading the caption 3. poetical and philosophical level

I love the details in every photographs and this sense of intimacy created between the photographer and subjects.

http://www.samlaughlin.co.uk/

artist talk, editorial, fashion, final year, Karina Lex, major project, photography, Uncategorized, uni work, university

Last term at Uni

In the first week of our second semester, our tutors delivered briefs for our two remaining modules. Professional Practise and Major Project. In the first semester we had Research and Development, the Critical Research Summary was submitted, and now this module is over. I got 68% for it and pretty good feedback, not too bad for a first submission.

One part of professional Practise is done – the dissertation. The title of my dissertation was Theoretical concept and the argument that there is not absolute truth in documentary photography. I analysed the theories of some photography critics and examined case studies of documentary photographers which portrayed people as their subject matter. I am glad that the dissertation is over now. Other two parts of this module are blog, website and the final presentation. Another module is Major Project which is our portfolio or photo-books and the final exhibition.

We have 11 weeks left before Easter break, then the submissions on the 10th of May and hopefully in July I will have a degree in Photography. I am so exciting! Especially, that after the graduation I am off backpacking to South America, I can’t wait! But before this I need to crack on with Uni work. Wish me luck!

Last Friday I had a pleasure to attend a Karina Lex’s talk. A brilliant artist who shared with us her story of becoming a photographer and her 12 years’ experience as a freelance photographer. She is a commercial and commissions-based photographer however, she also creates art work, raising money for charities and is interested in fashion, editorial and psychology.

Her advice was to keep going and say yes to opportunities. To approach customers by email, to list all our skills (technical, customer service, physical work, experience with equipment we are familiar with etc) and to write how it could benefit the company we’re applying for. She also told us how important is to always build a relationship with the subject. When asked if she would choose the photographic work opportunity, or a full-time job and doing photography work on a side, she recommended to always look for photographic opportunities, as after full time at work we won’t have time to do anything else. I must agree.

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Lex presented for us her physical portfolio and I must say it looks incredible. A3 size, black leather cover, each photograph appears glossy and creates some kind of the story. It is a bit crazy to say that fashion photography creates a story, but Lex sequenced her images with similar colours and warmness what forms a harmony when looking through it. I love the design which she ordered from Plastic Sandwich (plasticsanwich.co.uk). I will consider this company when I completed university and will search for work.

The best thing about Karina Lex’s talk was that she was very honest with us when talked about her work, experience, portfolio etc.