One to one

Ev­ery month we join a top pro for a one-day mas­ter­class. This is­sue, Chris Ge­orge joins top landscape pho­tog­ra­phy Jeremy Walker for a sum­mer shoot on the Som­er­set coast

Digital Camera World - - CONTENTS -

shoot­ing artist por­traits for a mag­a­zine. Af­ter study­ing pho­tog­ra­phy at Glouces­ter Col­lege of Art, he spent 10 years work­ing in de­sign stu­dios in Lon­don and Northamp­ton, with the aim of be­com­ing an ad­ver­tis­ing pho­tog­ra­pher. The re­al­ity was that he ended up shoot­ing com­mer­cial and in­dus­trial sub­jects. “I shot lots of shoes, pho­tographed plenty of col­lege prospec­tuses, and toured the coun­try pho­tograph­ing count­less bus shel­ters,” he rem­i­nisces.

It was when Jeremy set up on his own that he di­ver­si­fied into shoot­ing land­scapes. “When client work was quiet, I went out and shot stock – tak­ing pic­tures of the power sta­tion at Not­ting­ham or lor­ries on the mo­tor­way, for in­stance. It was still the golden era of stock pho­tog­ra­phy – and I got my first li­brary con­tract with the renowned Tony Stone agency, on the ba­sis of three sun­set im­ages I had taken on hol­i­day in Cal­i­for­nia”.

One of his best-sell­ing im­ages was taken on a day trip with his mother – a shot of sil­lag­ing, with a red trac­tor with a yel­low cut­ter creat­ing di­ag­o­nal lines across a green field of grass. Even­tu­ally stock be­came 80% of his in­come, so he moved back to the West Coun­try, where he had grown up. “Dorset is also a great place to do pho­to­graphic work­shops – but that was more luck than judge­ment!” he laughs.

To­day stock just makes up a very small part of Jeremy’s in­come. “Well over 50% of my in­come now comes from work­shops and pri­vate tu­ition,” he ex­plains. “This is sup­ple­mented by pri­vate sales of prints and com­mis­sioned work.” His lat­est ven­ture is a book of im­ages of ru­ined cas­tles and other build­ings shot within their land­scape – it will com­bine around 100 old and new im­ages, and will be pub­lished in early 2019.

Af­ter a tour around the boats in the har­bour, made pos­si­ble by the low www. dig­i­tal­cam­er­a­world.com

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