Michael took his first “proper” pictures in Sofia, Bulgaria, which impressed his course examiner enough to give him a degree and got his book in front of Eamonn McCabe at the Guardian who encouraged him to keep going. He spent the next few years cutting his teeth as a studio manager in advertising agencies whilst immersing himself in his newly found passion for photography. Eventually, buoyed up by a healthy economy, he took the handful of pictures he had and said goodbye to the agency, heading out into freelance world of Photography. Getty Images came knocking offering him the post as their “London Creative Photographer”. Naturally the promise of shooting all over the world working alongside some great art directors and all his equipment supplied with a monthly salary on top, swayed his decision to join. He stayed there for 6 years shooting everything from still life to exotic locations. But eventually the drive for self-expression and autonomy won out and he left to set up my own studio from which he works today. Michael is now working with some of the best brands and advertising agencies in the world.
How did you get into photography?
I first picked up a camera when I was studying printmaking at Kingston University. Initially I only took pictures to include in some of the silk screens I was making but soon fell in love with the medium. However the first real project I embarked on was a trip to Sofia in Bulgaria where I spent a week photographing people and life in the city. Back then I was inspired by the whole black and white reportage thing.
Is there anything/anyone you?d love to photograph?
I’ve always wanted to take the Trans Siberian railway across to Mongolia and Ulaan-Baatar and Lake Baikal to photograph the vast wilderness along the route.
Why did you enter your image to the 2012 Sony World Photography Awards?
It’s probably the most prestigious photography award and great exposure if you get selected.
What’s the story behind your shortlisted image?
It was a commission for PwC who wanted to get across the idea of people and people relationships within a business context. The idea to shoot people moving about the city from above helped to give a global context to the campaign. The viewpoint has the effect of making everyone equal in size and focuses on their relationship to each other within the space and confines of the image.
What are your future projects?
I’ve always liked this viewpoint and space within my imagery. Maybe I’ll look to do something similar around sports. The Tour de France would make a good subject!