Over to You

Three photo sto­ries packed with bril­liant shots, plus all your rants and raves

NPhoto - - Contents -

I got into pho­tog­ra­phy when I was at col­lege. I signed up for a course to fill in my timetable, and found that I re­ally en­joyed it.

Around the same time I used to hang around At­ti­tude Cus­toms in Southamp­ton, a shop that built cus­tom choppers. My dad dragged me down there at week­ends, and when he told the guys I was do­ing a pho­tog­ra­phy course they told me to bring my cam­era along. The next week­end I turned up with my D3000, and I was hooked.

My pas­sion for bikes and the cus­tom world has grown along­side my pas­sion for pho­tog­ra­phy; I’ve tried shoot­ing other sub­jects, but I find shots of bikes and cars much eas­ier to com­pose, and no other sub­ject feels as nat­u­ral to me as pho­tograph­ing peo­ple with their pride and joy.

Af­ter leav­ing col­lage I went to work for Wa­ter­line Me­dia, a fan­tas­tic team of guys who pro­vide me­dia ser­vices to the ma­rine in­dus­try. They showed me the ropes of pro­fes­sional pho­tog­ra­phy, and I learned more from them in two months than I had in the pre­vi­ous two years. We trav­elled around Eng­land and over to France, pho­tograph­ing yachts for Sun­seeker, Yamaha and oth­ers. The life­style was a bit rock’n’roll

– many times I found my­self us­ing a Peli case as a pil­low.

Around two years ago I be­gan work­ing at Southamp­ton Har­ley-David­son, which made grab­bing shots all the eas­ier. I love pho­tograph­ing the cus­tom scene, as you’ll always see some­thing dif­fer­ent.

Show and tell

When shoot­ing cars and bikes, you need to think about the back­drop. For ex­am­ple, at car shows, de­tail shots are always a win­ner, be­cause the cars are so tightly packed to­gether that you can rarely get a wider shot that doesn’t look clut­tered. I re­ally en­joy the process of com­pos­ing of my shots; I can get grumpy if they don’t work out! There are a few pho­tog­ra­phers who have in­flu­enced my work, the main one be­ing Dirk Behlau, aka The Pix­el­eye (www.dirk­behlau.de) – he’s a great source of in­spi­ra­tion.

Un­for­tu­nately I re­cently lost my job at Southamp­ton Har­ley-David­son, which was gut­ting as a lot of my pho­tos and in­spi­ra­tion came from there! On the up­side, I’m now free to roam around all the big cus­tom shows at which I would pre­vi­ously have be­ing work­ing. Th­ese shows are where the high­qual­ity builds are to be found. The own­ers of­ten have as much char­ac­ter as their ma­chines, and they nor­mally don’t mind be­ing in­volved in the shots.

I up­graded from the D3000 to a D80, and I’ve re­cently ac­quired a D90. My favourite lens is prob­a­bly my 35mm f/1.8. My next in­vest­ment is go­ing to be the Nikon 16-35mm f/4 lens. I’ve heard great things about it, and it would fit in with my cur­rent setup per­fectly.

01 Grind­ing Nikon D3000, Nikon AF-S 18-55mm f/3.5-5.6G VR, 1/30 sec, f/5.6, ISO1400

02 48 Row Nikon D80, Nikon AF-S 35mm f/1.8G, 1/60 sec, f/5.6, ISO320

03 Ol’ Fish Tail Nikon D3000, Nikon AF-S 35mm f/1.8G, 1/1000 sec, f/3.2, ISO200

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