Harvey Hartley

Harvey Hartley

Petersborough, England

blog

Have you ever had and followed the urge to run home and get your camera in order to photograph something you have spotted passing by?

Yes, but they're the photos that end up on the cutting-room floor, by the time you get your camera nothing is quite the same, the moment has gone. That's why I always have my camera with me, it's become obsessive - an unattractive trait.

In connection to this, do you think that luck plays a big role in photography?

None of my photographs are pre-planned or set up, so I only have luck to rely on, it’s just a matter of keeping my eyes open.

Do you use your mobile's camera? Would you classify this as some sort of a guilty pleasure/necessity?

A while ago I started to play with the camera on my old phone because it gave me really nasty CCTV style images with strange little nuances, but now the camera I have on my phone is too good and really boring so I don't bother anymore.

I work as a graphic designer, so in my spare time I try to escape from the digital world and 35mm film enables this. It's nice to create things for myself that may not look so shiny and polished but the goal is always the same - to create a well made image no matter what the process or medium.

When thinking about all those new gadgets and electronic devices, which do you deem the most unnecessary?

As long as Boots keep developing film I'm happy! It's not for me to say what is and what isn't necessary, I guess gadgets are only unneccessary when nobody benifits from them, I'm sure there's somebody out there that found true companionship with a tamagotchi, but however.

You have a degree in illustration. How far can you implement your knowledge from this area into your work as photographer and vice versa?

Yes, I have a degree in illustration but I work in many different disciplines within the world of design - everything from illustration to video, print to animation and one informs the other. I imagine I take photos like an illustrator, maybe my compositions would be frowned upon by someone with a photography degree, maybe the way I use shapes and colours might be a little different, it’s all academic really.

Returning to photography, what do you wish to convey through taking and exhibiting pictures? Is there something you find yourself searching for or do you rather shoot away?

There are certain criteria I look for in a subject but it's not a list that could be put into words. I guess there is a common thread running through my work but I like to think that it's not contrived in any way, I'm not sure why but I feel that I can express myself though photography a lot clearer than I can through other means.

If you were to choose your favourite from the pictures shown here, which one would it be and why?

I have a fondness for the 'Abandoned Rose' image as it has an accidental story-telling element to it, I like other photographs from the same period because of the connection between the images and that time in my life rather than the images alone. I promise to give up this photography farce as soon as I take a shot that I'm truly happy with.

What do you enjoy looking at yourself more: pictures with or without people on them?

I wouldn't put that kind of restriction on viewing a piece of art. I try to be broad-minded, I love the work of Nan Goldin and Larry Clark but I also love William Eggleston and Stephen Shore. In my own work I very rarely take photos of people (I can't think of any at the moment) - maybe my friends just aren't as exciting as Larry Clark's or maybe I'm just to shy and awkward. 

Your most indulgent purchase for your photographic work?

I wish I could tell you stories akin to diamond encrusted giraffes and cocaine- carrying dwarfs but alas all my cameras are second hand and they're usually given to me.

I'd say the camera here is an attractive trait. Take a look at his work.

Garrett Lockhart

Garrett Lockhart 

Nanaimo B.C.

flickr blog website

Your body of work is like a tribute to film photography. Is the engagement in analog photography something 'near and dear' to you?

Something about film has always excited me.  The fact that you really have to thing about what you are shooting, and even when the moment is captured, you have to wait to see the finished result.  I love film.

What would you say are the charms of 'suburbia' as a photographical setting and motive?

How everything moves.  People, cars, bikes, flashing lights.  It's hectic, but beautiful.

And does this stand in contrast to nature photography, or do you see overlapping themes in both areas?

The same thing can be said about nature photography.  Nothing is ever still.  Grass in the wind, trees rocking back and forth, a stream trickling.  

When you look at your own pictures, which is more often the case: you see the images in vivid remembrance or as time held still?

I would say as time held still.  That's what people take photos for.  To make time stop.  

Connected to this: Would you say that engaging in photography implies a romantic notion of dealing with time, or the attempt to historicize experienced moments?

Definitely a romantic notion of dealing with time.  Historicize sounds a bit harsh.  Capturing images should be a kind of intimate thing, I believe.

Do you enjoy it when the colours on the pictures you take are different than the objects in

real life, or does it rather bother you?

I love it.  It's a complete surprise with film, and that's why I enjoy it so much.  

Do you find it difficult to throw pictures away, no matter how bad and irrecognizable the images are?

Yes, I do.  A few weeks ago, only two prints could be developed on a roll I had taken.  The photos turned out horrific, yet I couldn't throw them away.  It seemed like it just wasn't right.

If you were to establish a photography/art agency, upon which premises would you base the work conducted within it?

Fun. 

Would it even interest you to engage in such organizational work, or would you say that the individual life and work of an artist is what you would prefer doing?

I would rather work on my own.  I work better that way anyway, but I focus more on what is around me when I'm alone.

Finally, when you take a moment to look at the set of pictures shown here, what is it that goes through your mind?

Curiosity, really.  We are curious beings.

Altering colours and grain. Take a look at his work!

Sid Black

Sid Black

Oxford, England

flickr  blog

I come from Oxford, England and am - unfortunately - still visiting school. I love art, especially photography; thus I can't wait to get out of school and take pictures non-stop. 

But it appears good things come along with school, too... This series was taken during Sid's school trip to New York City.

I took the following three pictures during one of my fondest memories while in New York: we were on the first day of our school trip, and had planned on visiting Central Park. We arrived there in early evening and the light was amazing: it was just peeking through the trees and buildings onto the rocks we were sitting on. It was almost too beautiful. Most people were sketching, but I couldn’t stop snapping away with my AE-1.

The next picture was taken in the McDonalds on Times Square. Being on Times Square was a bit of a gift and a curse: the lights, signs and tall buildings were amazing, but it was a little crowded and all in all overwhelming. So it was nice to sit down and rest. Plus, I even got a free wrap!

After that we walked back from McDonalds and went to this corner where our group was supposed to meet. The light from the building down the street was falling so nicely onto the metal grill, so I just had to take a few pictures! Then we headed off to the Empire State building and went right up to the top of it.

These were taken right from the top of the Empire State. I don't know how to describe this experience, but it was just like nothing I've ever done before. I'm usually scared of heights but up there I felt very comfortable. 

A few days later, when we were on a boat taking us around Manhattan, showing us the Statue of Liberty, Ground Zero - and everything else there is to see - I took the next picture. It was pretty amazing, although maybe a little a bit crowded, but I really like the colours that I got out of this film (which actually was some brand-less long expired one).

During our last full day of our trip, we were walking along the High Line, an abandoned railway line in Chelsea – quite near to where we were staying. The High Line itself wasn't all that great, but the view from it down this street was amazing. Oh yeah, and I burnt this print with a match after being inspired by this photo.

On the last walk back to our hotel -  the very last night we were staying in it – I took this picture: there was a lot of fog, and you could hardly see the tops of the higher buildings. This photo seriously doesn't do it justice, because it probably was one of the best things I have ever seen.

Early the next morning we took the plane back to England. 

Here: young photographer's enthusiasm coupled with love for NYC. Take a look at his further work!

Shayne Stroud

Shayne Stroud

Austin, Texas

flickr  website

the pigeon curd pond fawn

As self-indulgent this might sound; does your own work ever inspire you?

Inspiration for me bounds from forces like music and film. My own work is certainly an inspiration though I am hard pressed to know if it is the making of it, or the actual work when revisited that inspires me more. I get so excited when I forget about an image and then on finding it again buried deep in some unorganized heap of files or prints, exuming the memory of the initial emotions/inspiration that went into making it. Sometimes I am inspired by it to make new works with the same intentions.

Quick return to photography: when planning on a picture, is it more often a mood or an image you wish to convey?

A mood is usually the first inckling of inspiration I have, and I live my life and make my work guided by my ever flippant emotions. I do not think it is intentional nor planned, but as my work is born out of an emotion so I suppose the result would convey that emotion. I never draw out images or plan down to the smallest snidbit before a shoot. I have whimiscal ideas and dreamy hopes for what it may become, but in the process of shooting the moment arises and I know that I have got what I wanted. I guess that is an emotional decision too, and when editing the finals I seem to choose those that fit the mood and…well as I do not wish to push any meaning or mood on the viewer, I do hope they are moved in some way nonetheless.

Within modern art, which contemporary artist(s) have you perceived to be most groundbreaking?

I do not keep up with the art world as much as I have been told I should. Often my inspiration is derived from music, film, or daily life. However, there are artists that I can not help but notice. Joel-Peter Witkin is a favorite of mine. Using older techniques, and unconventional subjects he has made haunting work that always excites me. I also greatly appreciate the work of Sally Mann. Maybe not so much all her work, but the beauty of capturing an image of someone you love so deeply is something…. I heart Harmonie Korine, Catherine Breillat, and David Lynch, too!

The perfect autumn afternoon would imply…

Coffee, a bike ride in a just-bought vintage dress, and more coffee.

Nostalgia on the rocks, in bright, glossy colours. Take a look at her work!