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Michael Freeman |
1. When did you start photography and how did it happen?
I was a late starter. After studying geography at Oxford, I went into advertising in London for several years. I began to feel the itch to make images, and in those more relaxed and kinder days, the agency I worked for gave me a sabbatical, which I used to travel up the Amazon with some secondhand cameras. The agency thought I would get this out of my system, but it rather confirmed my need to become a freelance photographer. We parted on excellent terms; I was very grateful for their support.
2. Do you photograph mostly with digital or film cameras? What are the advantages over another?
Until 2003 exclusively film (35mm for reportage, 4x5-inch for architectural, archaeological subjects). But I could see that digital was inevitable and realised that for me it would be more sensible to be an early adopter than to wait until the technology had sorted itself out (I had a grounding in computers for many years). It was on my latest big project, a book on Sudan, that I discovered how much digital could increase the opportunities, particularly in difficult and changing lighting conditions.
3. What inspires you?
How people interact, unusual light, adventure.
4. Each photographer has his/her own style and likings. What is your style that brings you out from other photographers?
That’s a question for a critic. I’m not being coy, and I’m fully aware that there is a difference, but I don’t believe that it’s healthy to dwell on one’s own style. There’s a danger of becoming mannered. One interesting comment I often hear from art director’s, however, is that my images are ‘difficult to crop’. Thank goodness!
5. What kind of photograph catches your attention?
Any image that goes beyond the obvious. There are too many variables for me to list the qualities that can create this, but every so often I see a photograph that is genuinely fresh — and shows me something that I would not have thought of myself.
6. How would you like to improve yourself as a photographer?
Continue taking photographs, anywhere. Photography only develops in the practice, at the moment.
7. What is your most memorable moment while doing photography?
Sorry, I can’t give you an easy soundbite on that one. There have been many memorable moments of so many different kinds. Usually surprises. You might say I live for them.
8. What do you think of increasing interest toward photography?
Interest in photography as an art, as something worth taking seriously? It is happening, though slowly in this country (England). I write as well as photograph, and it still amazes me that even poor writing is taken more seriously critically than good photography.
9. How do you think people have received your work?
Well enough, I suppose. On a professional level, I get to do pretty much the projects that interest me.
10. How much of your time do you spend doing photography?
Less than I should after 30 years. Because I end up spending time editing and, now that we’re digital, in post-production. But I still travel a little more than half of each year shooting.
11. You have been traveling around the world doing photography. How do try you bring out the local culture in your photographs?
Dig into the local life, learn some of the language if at all possible, and avoid the tourist infrastructure. If you can’t speak the language, you need a really good guide – that doesn’t necessarily mean a professional, but someone who is prepared to show you the street life.
12. Do you have some helpful tips for other photographers that you have learned over the years?
Without being facetious, I put those into my books!
Michael Freeman's website: Michael Freeman Photography