Interview – Devolution Magazine.

Just thought I would share my recent interview with Devolution Magazine ,  Enjoy !

DAVE PIPER PHOTOGRAPHY INTERVIEW

TO APPEAR IN ISSUE 26 OF DEVOLUTION MAGAZINE

Hi Dave, please introduce yourself and tell us what it was that initially got you interested in photography?
Well, visually creative geek more than photographer I think, Photography just happens to be my most commonly used tool these days. But I think my romance with the camera started when I was trying work out what Photoshop could do. We are talking back when Photoshop came on one floppy disc.

What are your background and or qualifications when it comes to photography and editing?

I am just a super star, what can I say. A couple of years as a studio portrait photographer, four years as a wedding photographer, four to five years as a digital artist, four of years as a music photographer, a couple of years having a go at the fashion thing, now I am also looking at the teaching thing, oh, I am currently the Art Director for LABB Magazine too. I try and let my work stand in front of me. I am never going to try and justify what I do, its all a point of view.

We were first introduced to your work via your live images from gigs and events, do you still shoot bands or have you opted for the modelling route?
Its hard work shooting bands, just getting accomplished bands to let you in is one thing, then being able to do anything with the photos after is another, Its a hard and low-paid world. I only shoot bands that I really love these days. People like Tarrie B will always be a joy to work with, they give so much and are able to transfer that into the camera. I have come the conclusion its just fake’ness I dont like to work with. I know that does sound a bit strange from the outset considering the fashion world I also work in. But many of the simple truths do cross over, as long as the artist , be it singer, drummer or fashion designer is fully committed to their Artform, I am happy to get on board. I would not say I have opted for the “model” route, but I would say its got more depth and scope to make a living from. I have some big gigs lined up this year as well as big shoots in the Fashion and Art worlds

What are the major differences technically between shooting models and live acts on stage?

Haa haaa, dude.. you can talk about that subject for years. I guess to keep it simple I would say understanding what your photographing and why. That will change the technical way in which you approach a shoot. Shooting a bands can be hard work, but that’s not to say models are easy to work with. From a technical point of view, working with live bands can be very demanding on cameras and equipment, low light venues, crazy heat and screaming kids all take there toll on you. Its very very rare you have control of anything during a gig. There can be a big element of luck with gigs, and who you know rather than what you know. When shooting gigs super fast glass is a must. When I am working with a model, I have control of every single aspect of the shoot.

What camera equipment do you tend to shoot with?

I have used pretty much every camera make. In Tuscany, Italy, I was playing around with some Full Spectrum Infrared cameras. As a rule Nikon and there N-series lenses make the most sense to me. But I am just as at home with a Canon 5d Mark II as I am with a Nikon D3s. I am in love with fast glass, my D90 and a 50mm f1.4 never leaves my side. The best equipment you can have is your eyes and your thoughts.

What obstacles or personal barriers have you had to overcome as a photographer if any?

This is tricky, but I would say other peoples doubt. I dont know who is going to read this !! I have had some pretty tight moments of self doubt for sure. The world of an artist is a loneley one at times.

How do you personally feel about the Alternative Photography market currently?

What would you diescribe as Alternative? Am I an alternative photographer ? I dont know. I think I have a more alternative way of viewing things than most. I think I tend to me more open to new ideas and new paths than most, because I am always looking to change direction. I guess you are referring to the Punk Grls / Suicide girls thing. It`s nothing new to me, but I do think its funny how everything becomes mainstream in the end. I hope my work does stand away from that sort of stuff. On the other hand, its nice to see darker elements of the world given space to breathe.

What or who inspires you and your work?

Erm, there is not one person or style, it changes way too much. I have always had my own drive to create work that causes a reaction or a feeling, to push a button if you will. There is not a lot of point in just making pretty pictures unless they have a purpose to someone. I would not want to start listing photographers, but artists like Marilyn Manson, Tim Burton, Slipknot, Banksy, Tracy Emitt and JRR Tolkien have had a profound effect on how I view the world. I like to make stories, play games, toy with people, and explore the darker sides of life. My own family are a massive inspiration on my work, my brother in particular. I do find my self making things sometimes just for him. I guess its easier to make design for a specifc person than just for a broader vision. Many times he would never see the work. Its just a creation process I use.

You have an eye for the more erotic side of art, what elements are needed to achieve the classy tasteful and arty style you have for each erotic image?

You have Mark Page to blame for that (Photoswithattitude). Haa Haa… Marks work did have an early influence on my tastes of photography. If you are going to photograph naked people, you have to set a limit I think, for me , I ask my self, would I have it on my wall, would I show my mum, would I show my family. I am a big fan of Bryon McCartney’s work. During his Art Nude Workshop’s in Tuscany, Bryon and I do touch on this subject. There are subtle ways of controlling the overall feel, they are there, but at the end of the day its all a matter of personal taste. I think a good respect for your subjects is a nice place to start though. Sometimes being able to create a story or idea into a photograph can be far more sexy or erotic than a pair of boobs. I like to think that a photograph is not just a visual element, it can be a trigger for much deeper emotions. A photograph can be a mirror for your own thoughts.

In your opinion what do you think makes a good and a bad photographer?

Nickie, These are hard questions !! In what context !! Ermm. A Photographer would be considered bad, If, in my eyes they had no respect for the subject they were dealing with, someone who has not given the correct amount of time to the given task at hand. What makes a good one.. Some of the photographers that I really love seem to have strong concepts and vision and thus a strong point of view. Think Tim Burton. Yes, he makes films… but the concepts are very much the same.

Do you have any goals or projects that you hope to accomplish by the end of the year?

To build up my new portfolio of dark, gritty grainy work. Working on my teaching projects and getting more published work. A front cover for Devolution maybe ?

What has been your most memorable shoot to date? And why?

The whole of the Tuscan Workshop this year with Colleen Deary, Magena Yama, Bryon McCartney, all the students and all the other models. I learnt more about me than I ever thought I could. Whats funny is that I hardly took a photo. It was learning about me and who I am that I enjoyed. I still don`t see my self as a photographer at times. On the other hand I could say the Joe Challita shoot, or one of the many many gigs. NoFx, Rise Against, Bowling for Soup, Def Leppard, Public Enemy the list is long. Its hard to pick. But one personally does mean a lot, the first time I met Tarrie B from My Ruin.

What has been the most crucial advice given to you on the subject of photography and who was it that told you?

I am pretty sure I was told to never miss the eyes.. Focus on the eyes and you can not go far wrong. But I have no clue who told me. I am the sort of person who picks things up from watching and observing people more than sitting reading and learning. Get a camera and see what works was my way. Its the only advice I would give (ish). Haa haa.

Here is your chance for a selling pitch to any models who might want to work with you in the near future – tell them what they can expect from a photo session with you and what aftercare do you provide in getting the best edited shots to them.

Well, I am looking for some new people for my new collections, Think Hollywood chic back in the 70′s, nude, edgy and something to provoke. I tend to build up to a shoot, its very rare that I just will shoot with someone, I prefer to get to know them first and see if we can work together, come say hello and take it from there. If there is anyone who does want to know more about the photography courses in Zurich or the Workshops in Tuscany. Check out the site details. A week in Tuscany is always going to be good fun for sure.

And finally, is there anyone that you would like to work with this year that you haven’t yet had the chance to?

Oh yeah, big time. T­here are are lots of people I have on my list.. the best way is to keep tabs on my work via my blog, Facebook or one of the many many ways of stalking me. There are some MASSIVE things coming up next year. As the shoots get bigger, the planning time seems to get longer too !

PLEASE REMEMBER TO INCLUDE ALL WEBSITES AND CONTACT DETAILS

AS WELL AS THE MODEL CREDITS FOR THE PHOTOGRAPHS YOU SUBMIT TO ACCOMPANY THE INTERVIEW

WWW.DAVEPIPER.ORG.UK

WWW.DAVEPIPER.ORG.UK/BLOG

http://www.modelmayhem.com/744070#

Dave@davepiper.org.uk

www.labbmagazine.com

http://www.viewfindercenter.com

http://www.bryonpaulmccartney.com/

Models and Credits­

The Beach Shoot

Model – Colleen Deary

Location – Tuscany. Italy

With thanks to Bryon McCartney

and the Viewfinder workshop

The White is Black Shoot

Model – Emma Jane Hurst

Location – Birmingham Studios

The Steps Shoot

Model – Magena Yama

Location – Tuscany. Italy

With thanks to Bryon McCartney

and the Viewfinder workshop