What inspired you to organise the forthcoming Photographers v Prostate Cancer event?
While being treated for prostate cancer during the last year, I learned a lot about the disease and met a lot of other men who had it. There seems to be an all too common factor; late diagnosis – often brought about by the dread many men have of a simple test.
At the same time I became aware of the Prostate Cancer UK’s Sledgehammer campaign, fronted by comedian Bill Bailey. I decided to try to help raise awareness and encourage men to have check-ups. The photography community seemed a logical sponsor, still male dominated and it is glamorous enough to get a lot of publicity, if I could get some of the top photographers onboard.
Everyone, from Lord Snowdon and Don McCullin to Rankin and Tim Walker, has donated works. Did you make a personal decision to feature British artists only?
The project became British, or at least London-focussed, because that is where I have the most contacts in the industry. It was quite easy to get in touch with all the photographers we have in the show without the hassle of going through agents and other third parties. Lord Jeffrey Archer, a major supporter of Prostate Cancer UK, will be auctioning a portrait session with top photographer John Swannell.
That said, two of the wonderful women photographers who donated, Sheila Rock and Julia Fullerton Batten, are American, but they are based in London.
You’ve been successfully working as a portrait and lifestyle photographer for 30 years now. What major changes have you seen in the industry during this time?
The industry has changed considerably since my prime time in it, during something of a golden age. Digital photography and large image libraries have now greatly devalued the work of the professional photographer. There is only a fraction of the work that there used to be and the fees have diminished. A few people at the very top still work in a rarefied environment of big budgets and large fees, but I should think it is a struggle for most people who want to be a photographer to start now.
A top image library has just said that what it is looking for is ‘work with huge production values’, presumably to differentiate it from amateur imagery. To me this is sad, because I like natural-looking spontaneous work; William Klein, Kertesz and Lartigue are my heroes.
How do you balance your own creative aspirations with the pressures of working for commercial clients and making a living?
I am mostly out of the commercial environment now – it’s a young person’s game and I am no longer young! I used to try and balance it, but I found the commissioned projects were overwhelming and I only really got seriously into my own projects as I phased out of the commercial arena. It is often hard to make a living from personal work though – it needs highly commercial marketing!
What did you learn from your 12 years’ working in New York?
More than anything, working in New York made me very professional. There is so much money at stake with a New York shoot and a feeling that if you screw up or run over, you will never work in that town again. It is a very high octane-working environment. Speaking personally of that time, I think it was much easier to get a break there – they were more willing to try someone new and there was a staggering amount of fee-paying commercial work compared to London, plus the budgets were spoiling.
Where do you live now and why?
I have always lived in the W9 area of London. It is quiet, easy to get around by bicycle or walking and has endless parks and green space, plus the canal, which I love; I walk or cycle it every day. It also has wonderful real cafes, my tennis club and great libraries. They try, but they can’t really develop it much, the infrastructure stays essentially the same as when I was a student living here. It is also 10 minutes from everywhere.
What do you miss about NYC?
I do miss New York. I was young, single and successful there and it was a great place to be with those benefits. It got more difficult when I was married with a child. But like everywhere you can’t really go back to a life; the elements are gone, often the people have gone and I was there at a wonderful time in its evolution – it was very cool and creative. I think I might be very disappointed now.
What do you miss when you escape London?
It depends where I am going. If it is the Mediterranean not too much, if it is Bognor, everything! But, like the man said, it is impossible to ever get bored with London so I don’t feel the need to escape very often.
What are you most proud of?
Workwise, I guess doing the cover of Saul Bellow’s last book, Ravelstein, as he is a literary hero and Nobel Prize winner – that was an honour. It took a week in Paris to make that picture. He liked it so much it was used in 14 countries. Also a Selfridges’ campaign (Yellow) that had my pictures used on their three store cards. I never thought I would be on a credit card. It felt very strange when I received a letter for late payment of my account with my picture as the logo!
How do you switch off from work?
Books, cooking, cinema, tennis, cycling, art galleries, friends and family.
What’s in your fridge?
Always lots of berries and other fruit, salad things and Parmesan so I can always make something delicious. And beer because I’m a red wine-only man.
What’s your philosophy on life?
Always have a project on the go (especially important now I am a senior citizen) – it keeps you from going senile! I am working on an exciting exhibition for 2015 and also want to start another charity event for another cause I feel strongly about…
