Our emerging photographer series aims to shed a light on up-and-coming talent. Photographers are offered a platform to share their work with a wider audience through the AP channels, with the scope of furthering their careers. We also get an insight into their inspirations, the camera gear used and future aspirations, as well as the journey taken into photography – which doesn’t have to be the most traditional route!
Si Jubb and Ethan Parker, who won our Emerging Photographer of the Year award at this year’s AP Awards, recently spoke at our Festival of Photography: Documentary event. Previous emerging photographer award winners include Aliz Kovacs-Zoldi and Tariq Sadu. We’ll regularly be sharing the work of photographers on our website and social media – and even in the magazine – so if you are an someone who has recently started their photography journey or are a student/graduate, share your work with us at [email protected]
Charlie Dickerson speaks with Jessica Miller for this week’s feature
When and why did you start taking photographs?
I started taking photos from a young age, mostly during school trips with a small compact camera purely just to document and capture some memories. As a kid I found it remarkable to be able to freeze a moment that you have experienced in life (not knowing at all how cameras work, just seemed like magic to me at that age) I would always take photos on days out with my family and in 2017 at age 14 I was gifted an old Canon DSLR for my birthday which kickstarted photography as a hobby to be. I was presented with a new world of setting and techniques to try and believe me I tried all of them!
Which genre do you tend to work mostly in?
I have always loved cars, so naturally I gravitated towards automotive photography. I mainly shoot automotive pieces however I enjoy shooting sheet photography and natural landscapes. I shoot a mixture of genres, however professionally I shoot automotive photography.
What draws you towards automotive photography?
Again, cars themselves are the biggest attraction to me. I love capturing motion with automotive photography and the way that the vehicle reacts with the environment I am shooting in. I’m drawn to capturing the perfect shot combing pure automotive beauty in stunning locations. I love a super clean and well refined shot, and I feel automotive photography is the only genre that allows me to reach a pure creative flow to reach this goal. Through years of constant reflection within my own work and others I feel automotive photography has hugely resonated with me as a photographer and I am ever drawn to bigger and better projects.
Tell us a little bit more about your photographic training?
I have studied Photography at A-Level and Commercial Photography at degree level with Falmouth University. A-Level was a basic introduction to photographic techniques and genres mixed with elements of fine art. While University opened my eyes to the professional industry, creative roles, techniques, equipment and people with a mutual passion. Commercial photography appealed to me as a course as I was attracted to its real world presence and ever evolving industry that we follow throughout the three year course. It was a hugely diverse course in terms of content covered. We originally explored multiple genres from studio portraiture to event coverage and food photography. The first year of study allowed me to learn professional techniques with industry standard equipment, it opened my eyes to the professional world of photography as I worked to set briefs and carried out month long projects from initial ideas to delivery.
We collated with other courses such as fashion marketing and graphic design to experience cross industry collaboration, while in-house studio workshops introduced us to the incredibly powerful world of lighting, digital operation and retouching. The remaining two years were a journey of individual exploration, experimentation, research and of course shooting. Alongside industry professionals and incredibly talented academics these two years fueled my passion for automotive photography within the professional industry. Working to strict industry briefs and deadlines allowed me to gain vital experience for the real world and prepared me with a rich professional portfolio of work for a career in photography.
What has been your biggest photographic obstacle to date?
Working with a team as creative individuals is something I first experienced at university. There are many obstacles with creative direction and being able to work successfully to create a piece of work that so many people have worked on was a tough learning curve. But as an artist, working cohesively with others on the same creative project is fantastic but challenging experience.
Who are your biggest influences?
Tom Kahler, Marc Riccioni, William Eggleston, Greg White, Richard Thompson III, Robbie Lawence, Johnny Fleetwood, Lee Brimble, Peter Mckinnon, Steve McCurry, Martin Parr are some of my biggest photographic influences. As a collective they shoot a range of genres and styles, however all of their work has inspired and guided me within my own creative processes and understanding of photography through the years
What equipment do you use?
I have been shooting on Canon since the start of my photography journey however I am a huge fan and avid user of the Sony mirrorless systems, I also shoot on a drone for greater dynamic shots and to give a unique perspective.
What would be your dream equipment to work with?
I have always wanted to use camera rig setups on cars for tracking and rolling shots, It’s a new perspective and technique I would love to experiment with.
What has been the highlight of your photography career so far?
Going for a road trip in North Wales shooting an editorial series for my final University project, I got to do it with some fantastic people in great weather with a great car.
What are your hopes for your photography career in the future?
I would love to work directly with automotive manufacturers, become freelance and work for myself, keep working with great people and create great projects.
Do you have a dream assignment?
Shooting a campaign for a supercar brand in a stunning location would be up there.
What piece of advice would you give to other aspiring photographers?
Visual awareness I feel is one of the most important things needed to be a great photographer, It’s something that I continually work on, so noticing the direction of shadows, light, the textures in mundane objects, and how colors change as the light shifts. Learn to see before you learn to shoot. Another piece of advice I would give is to find our own voice, notice your strength and weaknesses in photography build your style and stay consistent and, “shoot everyday” – Anthony Prothero
Instagram: @thecdickerson
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