artist talk

Artist talk

Simon Roberts “Documentary Landscape Photographer”

http://www.troikaeditions.co.uk/artists/simon-roberts

http://phonar.covmedia.co.uk/?p=322

LT1 11:15 Oct 10^th 2012

Simon was influenced at an early age by Ansel Adams and then Stephen Shaw, he is self is taught photographer.

Bodies of work discussed:

‘Motherland’ http://www.motherlandbook.com/

Shot on a Mamiya seven (using a 220 back and a Tripod whenever possible) images included Landscape and Portrait work.

 

‘We English’ http://we-english.co.uk/

Shot using a plate camera and referenced right back to early representations of the countryside painted in the 1800’s Simon created a website prior to starting the project. This was a promotional tool used to generate interest in the work. The website included a section for suggestions for locations and events to photograph. The images were shot from an elevated position (from on top of Roberts Campervan). This elevated camera position increases/lifts the mid-ground. A conscious decision was made to ensure that any people within the frame are no higher than ¾ the frame or smaller. The camera position is consistently wet back to include the landscape and thus add context. By standing back and covering both landscape and people’s interaction with it he created “layers of time and space”. When taking the pictures using a plate camera Simon was conscious of his presence within the environment. When shooting he would make a show of setting up and allow people to become comfortable with his presence before even considering taking the image, waiting for their acceptance and for them to start to ignore him. I was very interested in the statement that the work was very much about different “ways of seeing or ways of looking”

Sponsorship for the work came from the National Media Museum Bradford and the Arts Council.

‘The Election Project’ http://theelectionproject.co.uk/ 2010

 

Commissioned by the house of commons itself, Roberts looked back to the work of William Egglestone who covered the run up to the US 1976 election. This oblique approach to the work was planned in advance with the aid of a full time researcher. Again shot using a plate camera from the elevated position of the top of the roof of the campervan the images show the entire election process. Again a website was created and an open invitation was sent out, this time to upload images from the campaign taken by any other photographer. Sixteen hundred and ninety six images were eventually submitted and those all eventually made it into one large single image. Along with this large image (created using Photo Shop contact sheet facility) the final piece of work consisted of 25 final images. Six months after the project was completed a newspaper was created with a total qty of 3000 copies.

‘This is a sign’

A brief outline of this work explained its agenda and use of text. The sign as a tool of political protest is explored (and even collected). It’s a body of work about language, including aftermath shots from the London/UK riots. It investigates the act of protest in a post trade union society and looks Also investigates the world of finances and the recession in relation to society and the landscape/environment.

Simon Roberts seminar 14:00 806

After starting a college course in news photography Simon left that after six months to work for the Ross Parry agency. A series of self directed work relating to a young boxer is the work that got him his big break and work doing magazines and editorial work. Roberts won the ‘news photographer of the year (Ian Parry award). After the boxing series Roberts worked on the ‘Snowbirds’project, followed by ‘Desert blasts’. During this last shoot that covered an event that only lasted twenty four hours he shot 85 rolls of film.

Some key tips highlighted included the importance of maintaining copyright for your own work.

Also take care if asked to licence your work out too, one off usage can be ok, but avoid other contracts.

Control your own pictures library as it can be a long tern income stream.

When on jobs always look to see if you can do work for yourself.

Be a pro active generator of ideas if you are doing editorial work, it can generate more work.

Consider producing a reusable mini portfolio system that enables the contents to be switched, useful for showing work.

Eighty percent of advertising work relates to portraiture.

Create interesting and differently shaped business cards so that you stand out

When creating books Roberts created limited number of signed special editions, that included signed copies off every print within the book itself. This can finance the production of the actual book run itself.

The ‘We English’ series was partially financed by a contract with the times that paid towards living costs during the shooting. Each week one image (digital) was supplied and at the same time readers could supply information to Roberts about events happening at his next scheduled location. Also Local radio and twitter was used to reach a larger audience.

Roberts collaborates with researchers, design specialists.

Promotion and interest was created by selling a limited edition print for 99p, this was also used as a gauge to see the level of interest in the work being produced.

 

When shooting the ‘Motherland’ project logistical tips included: sofa surfing, a fast way to get access to local people and business. Also ensure you have correct documentation, which included press accreditation for Roberts and three month visas which were only renewed upon proof to the authorities that genuine work was not only being created but actually published. Roberts took work with a travel company to provide this work/evidence that enabled him to continue to produce the work for the ‘Motherland’series.

Remember you may need at least “seven levels of engagement”before you work is even recognised let alone accepted and used.

Tools such as ‘Tweet deck’ are great for information gathering if using twitter. Consider the information you choose to publish and the online presence you wish to create.