An interview with Ben Burfitt
Copyright Ben Burfitt

RH: What attracted and inspired you to your current documentary project?

BB:  It’s something I very much fell into by accident. For a long time I was trying to come up with a project but nothing really stuck. I started helping out with my girlfriends dog walking business. When our daughter was born I took over the walking full time and found myself too busy with dogs and a new baby to work on much outside of work or home. I started to take my camera with me to work everyday and I’d say the project developed organically from there.

RH: Can you talk us through the planning stage for your project?
 

BB: There was no real planning at all.

RH: Is there anything you wish you had done differently?

BB: Not really. It’s all a learning process and every mistake leads to some sort of correction or new idea.

Copyright Ben Burfitt
 

Implementation and Completion

RH: How have you dealt with any challenges and difficulties within your project?

BB:  The dogs move pretty fast and the autofocus on my camera just isn't fast enough, so that meant having to prefocus, which in turn meant needing as much depth of field as possible, which in turn meant needing as much light as possible. Being from London, good light was unreliable, so I started taking a flash with me everyday which has ended up being an integral part of the whole aesthetic of the project. Aside from the technical stuff, there’s also the challenge of doing the same thing everyday and somehow trying to keep it interesting, which in a way leads back to the technical stuff. For instance, I switched from triggers to a TTL cord so I could sync the flash at 1/4000th of second. This opened up new creative avenues and meant I could pretty much kill all the ambient light, allowing me to take a totally different type of photo than I could have before. 

RH: How long do your projects tend to take from start to finish?   
 

BB: This one has been going on for about three or four years and I suppose there will be some sort of resolution to it in the form of a book. I’m not actually sure that my projects ever really end. I just tend to shoot whatever is happening around my life at the time, so as long as I’m working with the dogs I’ll continue taking photos of them. having said that I am looking forward to doing something completely different, I don’t know what yet but I’m sure something will present itself.

Copyright Ben Burfitt
 

Editing and Sequencing

RH:  Do have several images to edit of one fleeting moment or do you have one well-constructed precise image that you have captured?

BB: A bit of both, in that I take a lot of photos and usually at the end of a good days shooting I might have three or four half decent ones if I’m lucky (it’s all luck) There seem to be two types of photos that happen with this project; there are the ones that end up good by some sort of serendipity, and then there are the ones that almost turn out good but contain the spark of an idea. The latter ones end up being these obsessions that can take months or years to get. The whole project is pretty much based around a handful of very deliberate images and the rest are just these lucky moments that happened while trying to get something else.

RH: Within the editing stages, have you felt the project has taken on a different narrative than first envisaged?

BB: Definitely, but that’s what I love about it. It’s boring to me if I know where a project is going, or if I know exactly what images I'll be working to get from week to week. It’s the unpredictable nature of the whole thing that excites me. I’ve really only just started editing the work into sequences and trying to work out narratives, and what’s coming out of that isn’t what I’d have expected at all.

Copyright Ben Burfitt
 

Tips and hints 

RH: What would you recommend for people starting their own photographic project?

BB: Patience and determination are probably the two most important things I can think of. If you stick at something long enough you’re bound to get good at it. It doesn’t really matter what it is your taking photos of, it’s how you take those photos that’s important. I suppose it has to be something that matters to you personally.

RH: Does the camera really matter? 

BB: Yes and no. It matters in that certain cameras can do certain things, but it doesn’t matter if you can use whatever a given camera can do to your creative advantage. For example, if you have a camera that produces unsharp, noisy images, and you can make that work in the context and aesthetic of your project then what more do you need? I couldn’t take a lot of the photos I do without a camera that has a leaf shutter which enables me to sync flash at high speeds. That only became something that mattered because the particular camera i use can do that. 

RH: Any books you would recommend reading to get the creativity started?

BB: 

I think photobooks are a very good way of finding inspiration, for me at least.

I’d recommend:

Trent Parke - Minutes to midnight

Walker Evans - American Photographs

Alec Soth - Sleeping By the Mississippi 

Martin Kollar - Provisional Arrangement

Mark Power - Good Morning America I & II

Saul Leitter - Early Colour

These are just a few that I’ve very much been inspired by recently.

I also just finished reading “The Pleasures of Good Photographs” by Gerry Badger which was very good.

RH: Would you recommend attending photography workshops?

BB: If people feel that it would benefit them, then definitely. I haven’t myself but I can see how it would be a good way to speed up the learning process. 

Copyright Ben Burfitt
Copyright Ben Burfitt
Copyright Ben Burfitt
 

Copyright Ben Burfitt
 

Copyright Ben Burfitt
 

An interview with Mik Critchlow 

Mik Critchlow Photographer 2019

Copyright Mik Critchlow

RH: Who is  Mik Critchlow 

MC:  Mik Critchlow (b.1955) is a social documentary photographer based in the North East of England.  Mik has worked on long term community-based projects for over forty years.

On seeing an exhibition of paintings in 1977 by the ‘Pitmen Painters’- a group of Ashington men brought together in 1934 by the Workers Educational Association for Art Appreciation classes, he realised the value of art as a social document, the visual representation of everyday life, by one’s own knowledge and personal experiences.

In the same year, he began a long term photography project which documented his home town of Ashington, Northumberland. The son of a miner, he has worked within the community with a deep-rooted empathy for the townsfolk, documenting the area and it’s people during a rapid period of social and environmental change.

Work is held in public and private collections and has been exhibited & published widely including:  Side Gallery, Amber-Side Collection, Northumberland Archives, Brunel University, Museums Northumberland, Durham Art Gallery, Arts Council England, Laing Gallery, Northumberland Libraries , MCC Museum, Northern Arts, The British Journal of Photography, Amateur Photographer, Creative Camera, Museums Journal. 

Recent exhibitions include: 'Forever Amber' - Laing Art Gallery 2014, 'The Share' - Northern Rock Gallery 2014 , 'About The North - Imagined Dialogues' - Side Gallery 2018,  'Pitmen Painters Unseen' - Woodhorn Museum 2018, 'WORK+WORKERS' - Side Gallery 2019.

Planning

RH: What attracted and inspired you to your current documentary project?

MC: My true inspiration has always come from the people I meet and the stories that they would like to share, I'm an open book, a good listener and find that it's very important to have that real connection with people. My current documentary work is the same story that I've been working on for over 40 years, I've always been in it for the long haul and as long as I can make pictures and share others experiences and situations I'm happy, It's my immediate community, it's all I know.

Copyright Mik Critchlow
 

RH: Can you talk us through the planning stage for your project?

MC: You come up with the initial ideas and take it from there, I've never really planned a project unless it needed certain permissions for access to workplaces. I think the real planning only happens if I'm working on commissions and need to meet tight budgets and deadlines for completion. I like to work on the fly and make immediate connections through the people I know who can make things happen for me, it's all about working relationships & contacts. Sometimes I feel that I should be managed as I can be disorganised at times.

RH: Is there anything you wish you had done differently?

MC: In reality I wish that I'd spent much more time with my family years ago, I missed out on so much when I was working away on assignments and commissions. Precious time that you cannot get back.

Implementation and Completion

RH: How have you dealt with any challenges and difficulties within your project?

MC: I think the main challenge is keeping up the same level of motivation that you had on the first day. Every day is different, you make new contacts which in turn leads to better relationships with the people & communities which you are working in. You've got to keep an open mind and remain true to yourself as well as the people you meet. A high level of honesty and integrity helps - I don't sell people short or bullshit them and don't use images without permission first. I always tell people that their image may be used for an exhibition or book project and usually they are fine with that.

RH: How long do your projects tend to take from start to finish?

MC: My projects have always been done over fairly long periods of time, building the work slowly as I start to understand the bigger picture so to speak.  You start a project sometimes with pre-defined ideas about what you want to say with your photographs and then something changes within the project which takes you off on a completely different tangent.  Some of my shorter projects have lasted between 12-18 months, some have developed over many years, building upon the original story, adding to the work.  My work with Seafarers was originally a 6 month commission and I ended up working on the project for over 3 years, much of that time - self funded. My work in my hometown began in 1977 and it's still ongoing, you've got to have staying power to see projects through.

Copyright Mik Critchlow
 

Editing and Sequencing

RH: Do have several images to edit of one fleeting moment or do you have one well-constructed precise image that you have captured?

MC: It  depends really on the images that I'm working on, in fast moving situations I may take a short series of images as the scene unfolds in front of me, I usually know when I've captured something worthwhile within the scenario and stop at that moment, I tend to work quickly reacting to my first intuitive response to what I'm seeing. I've never used a motor drive and can usually nail the image in one or two shots. I've got a DSLR that is capable of 11 frames per second but I've always got the drive set to single shot, I'm not a 'spray & pray' photographer - You've really got to have confidence in your own abilities to capture the moment. I can't say that I've ever constructed a picture, pictures just happen, I love elements of spontaneity and the way things present themselves in front of me, the only construction element is in the actual framing of the scene. I also hate editing so the less frames I have to sort through the better, I'm an old school film photographer so I still treat every frame as if it's my last, even when shooting digital.

RH: Within the editing stages, have you felt the project has taken on a different narrative than first envisaged?

MC: When you lay out a series it's always fascinating for me to see images which have been shot at different times/places which work well within a sequence, the narrative either changes direction or leads you into other ways of thinking. You find images which work well together and it usually broadens the dynamics of the project.

Winning Brass band - Northumberland Miners Picnic 1990

Copyright Mik Critchlow
 

Tips and hints 

RH: What would you recommend for people starting their own photographic project?

MC: I would advise people to find something that they are passionate about, keep it local, there are probably a thousand worthwhile stories/projects within a 5 mile radius of your home. Start with something you know and feel passionate about and go on from that point of initial interest.

RH: Does the camera really matter? 

MC: I think cameras are only a means to an end, you just use the best that you can afford at the time, after all they're only tools. You don't get many professional plumbers discussing what brand of wrenches or pipe cutters they use. Jimi Hendrix was a fantastic guitar player but who gives a damn about what strings he had on his guitar, it's the end result that counts. It would be refreshing to  think this should be the case with photographers. I recommend  that you find a camera/lens combination that you are comfortable with and stick with it. Try using only one lens and learn what it can do, I've always found that the best wide angle or telephoto is your feet . For the majority of my work over the years I've used a medium format Rolleiflex TLR which has a fixed standard lens, same with 35mm I tend to only use a 28mm or 50mm lens, keep it simple and don't tie yourself to technology and gear.

RH: Any books you would recommend reading to get the creativity started?

MC: I would recommend looking at as many photographers monographs as you can lay your hands on, study their work, go to your local library, visit photographic exhibitions, I would advise strongly to keep away from the weekly/monthly camera comics, they only want to sell you the latest gear that you don't actually need. Above all, have an open mind and always be inspired, learn by your own mistakes, sometimes an element of danger is a good thing.

RH: Would you recommend attending photography workshops?

MC: I teach on workshops so of course I'm going to say yes, but sometimes people go on workshops expecting the world to open up to them and it doesn't happen for some reason. They've probably enrolled on the wrong workshop with the wrong intentions with the wrong tutors. I would say that they would get better value by just spending the same money to travel and shoot. It's much better to do workshops with tutors/photographers with solid real world experience who are proven experts in the field. There are far too many photography workshops being run by very clever marketing people and so-called business gurus who are only in it for the money, not worthwhile life affirming and useful photographic education. 

Copyright Mik Critchlow
 

Una's - First Avenue, Ashington 1978Una's - First Avenue, Ashington 1978

Copyright Mik Critchlow
 

The Banksman - Ashington Colliery 1981The Banksman - Ashington Colliery 1981

Copyright Mik Critchlow
 

An interview Andy Feltham

copyright Andy Feltham

RH: Who is Andy Feltham

AF: Andy Feltham is a self-taught photographer who lives in Northampton, UK, who also works part-time within the healthcare setting at his local hospital. He has been exhibited in the UK, USA and Italy and featured in numerous publications, both online and in print. He has also been commissioned to work in the commercial as well as the fine art setting.

Feltham seeks to create a tension within each photograph by using meticulous framing, exposure and technique to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work. 

RH: What is your project about?

AF: “The NHS will last as long as there are folk left with the faith to fight for it”.

Aneurin Bevan, the Health Minister who created the NHS

Since its inception in 1948, the National Health Service has been the prized jewel in Britains welfare crown. Asmortality rates decrease year-on-year, the demand for cutting-edge therapies, and their associatedtariffs, continues torise.A victim of its own success, the NHS faces its biggest fight to date.

Picture of Healthis my take on a small corner of the NHS today. Shot over two years, starting in February 2016, I was granted access to all areas across Northampton General Hospital, a mid-sized district general hospital in Northamptonshire, UK.

In part I wanted to explore the unseen recesses of the hospital, hinting at the hidden complexities inherent within the delivery of care. Further, I hoped to highlight chronic underfunding across the NHS, which has meant that the provision of safe care to the populace of Northamptonshire has become increasingly difficult. Despite - or perhaps because of - this, it was also the aim of this project to celebrate the hard work and commitment shown by staff at Northampton General Hospital in providing the Best Possible Care to their patients on a daily basis.

Planning

RH: What attracted and inspired you to your current documentary project?

AF: I work part-time as a nurse educator within the NHS, and was seeing potential images in and around the local hospital where I work. I consider the NHS to be the jewel in the tarnished crown of Britain, and I wanted to do *something* to help preserve it. The inspiration for the project came to me after I’d gone to bed on one night in Jan 2016… I was so excited when the idea dropped that I couldn’t sleep for ages thinking of all the possibilities!

RH: Can you talk us through the planning stage for your project?

AF: There was quite a bit of negotiation required with the project, starting with getting the agreement from the hospitals Chief Executive, who then consulted with the Communications Team. Once I’d got their go ahead, then it was down to me to arrange shoots with various managers, often with tight time pressures as I didn’t want to impact on any of the hospital services. It was also important to me to carefully consider the areas in which to shoot, to give an accurate representation of all the facets of the care provided within the NHS, from birth to death.

RH: Is there anything you wish you had done differently?

AF: I’m pleased to say I only have one or two regrets in life, but I suppose I could go on and on shooting the series as there are unique moments worth capturing every day in the hospital. This wouldn’t have been practical however as I’m sure peoples patience would have worn thin!

copyright Andy Feltham
 

Implementation and Completion

RH: How have you dealt with any challenges and difficulties within your project?

AF: Well my main difficulty now is what to do with the work. My hope is that it’s a story of interest outside of the photographic world, but like many photographers, I’m better at making the work rather than selling the project to others once its done.

RH: How long do your projects tend to take from start to finish?   

AF: Picture of Health was shot over two years between 2016 - 2018, and I think it’s important to ensure that the work is strong enough to be released on the unsuspecting public… therefore a timeframe of years (the more, the better), to really be able cherry-pick the best of the project. 

copyright Andy Feltham
 

Editing and Sequencing

RH: Do have several images to edit of one fleeting moment or do you have one well-constructed precise image that you have captured?

AF: It varies. I’m often quite instinctive when shooting, so it tends to be just one shot, but I know when I’m really excited about the scene before me when I’m shooting multiple exposures to ensure I capture the very best take I can.

RH: Within the editing stages, have you felt the project has taken on a different narrative than first envisaged?

AF: I aways wanted the project to be a celebration of the NHS, so in that regard it stayed on track throughout the process. I certainly wouldn’t rule out any changes, even now a drop of inspiration might hit.

copyright Andy Feltham
 

Tips and hints 

RH: What would you recommend for people starting their own photographic project?

AF: There’s a couple of things I want to pass on… firstly if you’re stuck with for a story, just get out and shoot. As you collect the images, a theme or narrative may well bubble up to the surface. Also, I’d recommend that you don’t second guess what the responses of others might be to your ideas. If you have a location you want to shoot, approach the decision-maker with a smile and simply ask. At worst they can say ‘no’, but you’ll get better at the pitch in doing so.

RH: Does the camera really matter? 

AF: Ha! I’m probably not the best person to ask having just bought my mid-life crisis camera (a Fujifilm GFX50R). No it doesn’t matter, in that you can make compelling images with a smartphone; but as I’ve gone up the sensor sizes, I’ve found that you have more options when post processing with larger formats… photography is really just a series of decisions, so to have more options makes the job a little easier.

RH: Any books you would recommend reading to get the creativity started?

AF: I learn something from every photobook I own, and I have a few!! A couple of classics are ‘Uncommon Places’ by Stephen Shore, and American Prospects by Joel Sternfield. My favourite book is probably ZZYZX by Gregory Halpern. Any of these (and even better, all three) would be sure to get the creative juices flowing.

RH: Would you recommend attending photography workshops?

AF: I’ve only attended one workshop, a mate and I spent a day with Simon Roberts… my friend thoroughly enjoyed it, but said he didn’t gain that much from it, whereas I’ve been constantly referring to the lessons learnt on that day for the last two years. The difference was that I went with a heap of queries that I wanted answering, whereas my mate went along with nothing specific in mind.

Another friend has been on a few and generally refers to them as ‘Snake Oil’ but he says his workshop with Matt Stuart enabled him to visualise possibilities that he hadn’t considered before. So yes I’d recommend it, but have a specific goal and tailor who you go with to fit that objective.

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham
 

copyright Andy Feltham