Rising star
Young photographer Megan Bendall tells Amy Davies about her personal ‘Oh, Mama’ project
AP: When and why did you start taking photographs?
Megan Bendall: When I was 16. However my images had no purpose other than to document family holidays. At university I began to understand where I could take my imagery. In April 2018, I dove into narrative-based documentary work.
AP: What draws you towards documentary photography?
MB: It’s always been the link to other people’s stories and how my own experiences can be told through them. I think the use of empathy and relationships in documentary is incredibly important and I’m often drawn to things that I’ve experienced or been through.
AP: Tell us a little bit more about your photographic training.
MB: I’m in my third year at the University of Gloucestershire. I didn’t know where or what I wanted to be until my second year. The course helped me to specialise and find my way; previously I was never shooting with a purpose or a story.
AP: What has been your biggest photographic obstacle to date?
MB: Discussing whether to photograph my Ma during her decline. I began a year after her diagnosis, and we talked a bit about the contents and why I wanted to do it. In the end, our terms were that it was a positive outlook, just like hers. Never in hospitals, always at home or on day trips or photos of her friends and family.
AP: Who are your biggest influences?
MB: Portraiture-wise, Ross McLellan has been a large influence on me, especially with his wet plate portraits. They gave me an understanding of how to focus and compose. Otherwise, I adore the work of people like Laura Elizabeth who runs @OurKiddo on Instagram. Ella Cousins has been so helpful with advice; Joanne Coates and the work of Miniclick and their promotion of women in photography; Rob Law and so many more. I’ve also received some great advice from the influencers Iain Sarjeant, Rob Hudson and Al Brydon.
AP: What equipment do you use?
MB: It’s pretty simple; until 2018 I hadn’t really shot full frame. I delved into the kit my university had and originally began shooting on a Canon EOS 6D and invested in a Sigma 50mm f/1.4 DG HSM Art lens (the best but expensive not-so-nifty fifty). It is by far the sharpest 50mm lens I’ve used; the depth of field it produces, especially at low apertures, is stunning.
This year I also took a leap and invested in a Canon EOS 5D Mark IV, and I’ve never been so thankful for a camera that can handle dark situations and noise so well, as I primarily shoot natural light.
AP: What are your hopes for your photography in the future?
MB: I want to work with some charities to see how I can help promote empathy in illness-based media. I turn 21 this year and maybe through travelling I can expand current projects overseas. I’m currently photographing men and women who have beaten or who are living with cancer. I’ve had responses from across the UK, Canada, France and more. I am in the process of printing my first book, and hopefully it’ll be available to the public.
AP: Do you have a dream assignment?
MB: I guess I just love to work with people – perhaps something that could make a difference and tell someone’s story without a bias. I’ve worked a lot within illness recently and hearing the positives and negatives of people’s experiences has been eye opening and something I’ve learnt an awful lot from. I’d just love an assignment where I can learn from people, whether that is emotionally or practically.
AP: Tell us more about ‘Oh, Mama’.
MB: I began ‘Oh, Mama’ in the April of 2018, which was a year after my Ma’s diagnosis of secondary terminal cancer. When I came home for Easter from University, Ma had been staying in my room as her brother had her bed. She had left Post-it notes in my room about what she was grateful for. I photographed them before asking her if she wanted to partake in a collaboration. I shot most of the book over a two-week period and as we got into summer, her health declined and on 26 July she passed away. Over 70 people were in and out of the hospital during the four-day period she was in; people she had known since primary school, university, work and more. It was rather incredible. The project was something therapeutic for me as I was documenting the people I cherish, and it’s something we as a family look back on and smile at. It’s just a beautiful homage to the incredible woman she was and the incredible support system we had, as well as my own little therapy.
AP: What kind of reaction has it had?
MB: It’s been incredible, especially online. A lot of people relate to it and understand based on their own experiences, but also the positivity I aimed to show has been received perfectly. It’s almost a bittersweet reaction because I’ve met some people for whom it is very emotional because of their life experiences, but it’s not always a sad feeling because of the sentimental value.
AP: What piece of advice would you give to other aspiring photographers?
MB: Practise. I spent so long refining my portraiture and finding my style, but as well as that, network. Look at photobooks, books with narratives. Get to know people and why they create their work and how they work with people. I was always told ‘shy bairns get nowt’ growing up – and asking for advice, learning about other people’s trades within the photographic industry, whether that be publishing, shooting, jobs, etc, is always a chance to learn and get better with practice.