{"id":148422,"date":"2021-04-28T09:26:17","date_gmt":"2021-04-28T08:26:17","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=148422"},"modified":"2021-07-12T18:14:34","modified_gmt":"2021-07-12T17:14:34","slug":"why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/","title":{"rendered":"Why this film photographer is happy to keep the ‘meaning’ of his images fluid"},"content":{"rendered":"

As a control freak I find the idea of allowing other people to decide what my pictures are about more than a little uncomfortable.<\/p>\n

However, not everyone has the same psychotic requirement for a unified view of what their work means \u2013 Oliver Mayhall is one of those art photographers who is happy for other people to make up their own mind and have their own free-range opinions. In my head, meaning is meaning; but in Oliver\u2019s, meaning is fluid and he embraces the fact that people will have alternative takes on his message.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Sea of Grain. Canon Sureshot A1 with Ilford HP5<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Sometimes I get comments on my work where people have a completely different view on what it means,’ he says. ‘For me that\u2019s really cool. I want people to make their own judgement and interpretations of meaning. That people are making up their own interpretations makes it all the more interesting.<\/p>\n

I took a picture of my girlfriend on holiday (above) that I posted on Instagram. In the picture she\u2019s in the sea and waving her hands above the water. It was a very funny moment. When I posted it though, during the lockdown, people were like \u201cWow! That really captures the moment and where we are right now \u2013 with everyone feeling like they are drowning.\u201d<\/p>\n

But in actuality it was a really joyous moment and we were having a lot of fun. Part of my work is about creating an abstract and whimsical world around me, which is more exciting than reality. People will always have different interpretations of an image that will be derived from their own experiences and what emotions come up when they are viewing the picture.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Magnified. Mamiya RZ67 with 110mm f\/2.8 on Ilford HP5<\/p>\n\t\t<\/div>\n\t\t\n

I get messages sometimes when a picture really touches someone, and that\u2019s very satisfying however it has made them feel. \u2018Of course I\u2018ll have my own idea of what things mean and about why I shot a particular picture, but to hear that someone else\u2019s impression of that picture is totally different is interesting. I\u2019m not saying they are right or wrong, and I can\u2019t stop what other people think.<\/p>\n

And I don\u2019t try to steer people to any conclusion with big captions that tell them what the picture means. I prefer to leave it open. I totally get why people see something else happening in the shot of my girlfriend in the sea \u2013 to me it was a joyful occasion, but to many others it looks like she\u2019s drowning.\u2019<\/p>\n

\u2018I recently made a zine called It\u2019s not always black and white which contains lots of my black & white work so far. The idea is you should make up your own mind about what the pictures mean, and come up with your own interpretation based on your own life experiences, feelings and emotions.<\/p>\n

I class my work as \u2018art photography\u2019, so I can leave meanings open. In reportage and documentary you need to be as honest as you can and make meanings clear, but with abstract work it\u2019s about generating a conversation. I don\u2019t feel like I should be telling people what to think.<\/p>\n

In some of my shots, like my street work, I\u2019m photographing what\u2019s going on around me, but others are more constructed and I\u2019m in control of everything that\u2019s in the frame. Just because I\u2019m happy for people to interpret what I do in different ways doesn\u2019t mean I don\u2019t have some purpose or meaning in mind while I\u2019m taking it. Some people will get what I am trying to say, while others will make their own mind up. I like that.\u2019<\/p>\n\t\t

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Lou. Mamiya RZ67 with 110mm f\/2.8 on Ilford HP5<\/p>\n\t\t<\/div>\n\t\t\n

Words are not enough<\/strong>
\nOliver is a young London-based photographer who makes his living shooting commercial portraits. Most of his work comes from clients contacting him via Instagram, he says, and he supplements this income by selling fine-art prints and zines of his personal work \u2013 again with most of his buyers coming from his Instagram page.<\/p>\n

\u2018The more active I am on Instagram the more prints I sell, so posting new work brings people to my site. That\u2019s the direction in which I really want to go,\u2019 he says, \u2018selling prints of my fine art work.\u2019<\/p>\n

He loves to use film for his personal work and whenever he can in his commercial commissions. As is so often the case with photographers who shoot on film, Oliver finds it hard to put into words what it is about silver halides suspended in gelatine that attracts him.<\/p>\n

He has been shooting this way for about three years, after being inspired by other photographers\u2019 images.<\/p>\n

\u2018I\u2019d been admiring pictures online shot with medium format cameras and I was really drawn to the look so I bought myself a Mamiya RZ67 to experiment with,’ he explains. ‘There\u2019s much more character and warmth in pictures taken on film, and it\u2019s a look that\u2019s very hard to replicate with digital photography.<\/p>\n

I mainly shoot medium format and that, along with the film, gives a sense of depth that you can\u2019t get with a regular digital camera.\u2019<\/p>\n\t\t

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Gus. Mamiya RZ67 with 110mm f\/2.8 on Ilford FP4<\/p>\n\t\t<\/div>\n\t\t\n

For his commercial work Oliver uses a Canon EOS 5D IV digital SLR. He says this is for safety. Once he is happy he has the shots he needs, he gets the Mamiya out to do the pictures he enjoys.<\/p>\n

\u2018Getting the shots on the digital camera first allows me to relax and know that I have the shot already, but then I can I go on to shoot on film. That\u2019s when the fun starts.<\/p>\n

The Canon camera is very good but it doesn\u2019t excite me at all \u2013 it\u2019s just a tool that gets a job done. The Mamiya I love using. I love the feel of it, and the sound of it. It makes me slow down and makes me shoot in a more considered way. I think carefully about the pictures I shoot with the Canon of course, but working with a digital camera I can become a bit trigger-happy.<\/p>\n

When you only have ten shots on a roll of film you tend to be more careful about when you press the shutter button. I\u2019ll move the camera fractionally from one side to the other, and make tiny changes to the composition, before taking the picture, to make sure it\u2019s right. That process renders better results.<\/p>\n\t\t

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Emmanuel. Mamiya RZ67 with 110mm f\/2.8 on Ilford HP5<\/p>\n\t\t<\/div>\n\t\t\n

With digital cameras I tend to shoot and check after that it looks good. I shoot on film whenever I can for a commercial job, and sometimes I actually get commissioned specifically to produce film images \u2013 which is really nice.<\/p>\n

I want to shoot more on film as I get a lot more enjoyment out of it, but also I think the pictures look so much better.<\/p>\n

When I get scans back from the lab nine times out of ten \u2013 actually ten times out of ten \u2013 I will prefer them over the digital shots, and they will be the pictures that get used. The Mamiya RZ67 brings a sense of calm, and that shows in the results.<\/p>\n

It\u2019s not just because I have an emotional attachment to the Mamiya and to film, or that I might be biased with comparing the digital and film images \u2013 it\u2019s the look and feel of the film pictures that is like nothing else.<\/p>\n

I also like time between shooting and editing so I can look at the shots with fresh eyes. With digital shots I get to see them straight away and make a judgement on them immediately, without having that break away from them. That space helps me see my work differently.<\/p>\n

Recently someone asked me for some files from a digital shoot I did a while ago and when I got them out and looked at them I thought, \u201cThat\u2019s a horrible edit! I don\u2019t know how I\u2019ve done that.\u201d<\/p>\n\t\t

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Ellen. Rolleiflex 3.5F on Ilford HP5<\/p>\n\t\t<\/div>\n\t\t\n

I had to reset the adjustments and start again, this time adding only a little bit of contrast \u2013 which is all it needed in the first place. Going back to work well after it was shot can help us to look at what we\u2019ve done in a more detected way,\u2019 he discloses.<\/p>\n

\u2018Shooting film really does make me feel something else. It\u2019s a real joy, even the feel and sound of the cameras makes me feel good. The whole process is slower too, even when I\u2019m shooting street photography.<\/p>\n

The aspect ratio of the format is an attraction too. I\u2019ve shot a lot of 6×7, but now I\u2019m trying 6×6 and find it fresh and exciting. I\u2019m not sure if it\u2019s just because it\u2019s new to me. I know I could shoot in any format and crop it to 6×6 but I want to compose everything in the moment, not later on.\u2019<\/p>\n

Eyes abstraction<\/strong>
\nThere\u2019s a distinct abstract and surrealist feel to a lot of Oliver\u2019s work that reminds me of the art movements popular in 1930\u2019s Berlin, though when I mentioned that to him he said he would have to look that up as he isn\u2019t familiar with that period.<\/p>\n

He uses broken mirrors to reflect and lenses to magnify parts of the subject, and uses strong graphic lines and shapes to create really striking pictures.<\/p>\n

He also has a bit of a thing for eyes that reminds me of Dali. \u2018It sounds clich\u00e9d to say that eyes are the windows to the soul, but there is something in the eyes that draw me in to a subject. Eye contact is powerful. There is intensity in eye contact, and using lenses and mirrors can amplify that connection.\u2019<\/p>\n

I note that Oliver gets very close with his portraits, and he says he hasn\u2019t noticed before. \u2018I\u2019m not sure why I get so close, but I suppose it\u2019s because I like to be up close and personal. It makes the viewer feel close to the person, as though you are right there with that person.<\/p>\n

\u2018I\u2019ve always had an abstract element in my photography. When I was young I had a book of pictures of reflections in puddles, and that really inspired me. When I started taking pictures myself it was reflections and distortions I was drawn to, and I still love shooting them today. I like an abstract view \u2013 I find it stimulating to create other-worldly alternative realities. I use this abstraction and surrealism in my commercial work too.<\/p>\n

Photography continues to be my hobby as well as my job, and I\u2019m still trying to find a balance \u2013 I don\u2019t always know where the line is between them.\u2019<\/p>\n\t\t

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These are the film cameras Oliver uses most often, but he has a box of point and shoot models he takes out on occasion<\/p>\n\t\t<\/div>\n\t\t\n

Film<\/strong>
\nA lot of Oliver\u2019s pictures are in black & white, but he also has a significant body of work that\u2019s in colour. \u2018It depends on the subject,\u2019 he tells me. \u2018I shot a series recently of the performance artist Marnie Scarlet who dresses in these wonderful colourful outfits, so obviously I needed to shoot that in colour \u2013 although I did shoot her in black & white too!<\/p>\n

The black & white shots came out really well actually. For the colour pictures I used CineStill film. I do sometimes shoot digitally and try to make it look like film, but I don\u2019t like doing it \u2013 it\u2019s very hard to emulate the look of film. Occasionally I might add a bit of grain to a digital picture, but I don\u2019t think you can replicate that look \u2013 it also feels quite dishonest.<\/p>\n

\u2018I use lots of different films as I like experimenting. Most often it\u2019s Kodak Portra 400 and 800 or 160, and Ilford HP5 and FP4, as well as Kodak\u2019s Tri-X. CineStill film is my guilty pleasure as it\u2019s so cinematic, experimental and fun to use. I want to use it for a series of night shots I\u2019m working on.<\/p>\n\t\t

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Marnie. Mamiya RZ67 with 110mm f\/2.8 on CineStill 800T<\/p>\n\t\t<\/div>\n\t\t\n

I use my film at the standard ISO rating, except Portra 400 which I sometimes rate at 200. \u2018I tried processing film myself and it mostly went well, but sometimes it didn\u2019t and I got worried I was going to ruin my shots, so I use a lab now.<\/p>\n

want to do a course in processing, but for now send off to different labs to try them out. I\u2019ve recently used Take it Easy in Leeds and AG Photo Lab, but commercial work always goes to Bayeux in London.\u2019<\/p>\n\"\"\n\n

Gear<\/strong>
\nOliver shoots with a mixture of cameras and formats, but his main kit is a Mamiya RZ67 with the 110mm and 55mm lenses. \u2018I used to have a Pentax 67 with the 105mm, which I bought because I thought it would be more portable and lightweight than the Mamiya, but it was really heavy.<\/p>\n

Now I use the Mamiya for most of my work, and have been building the kit with the prism finder and the grip. I\u2019ve borrowed a Hasselblad 500CM from another photographer via the Fat Llama rental site and am trying it out with a view to getting my own.
\nI love that it\u2019s so small and light. I\u2019m also looking at the Intrepid 5x4in cameras! \u2018I don\u2019t really need any more cameras, that\u2019s for sure, but they are \u201ctoys\u201d I want to enjoy.<\/p>\n

I don\u2019t think having a Hasselblad will really change anything \u2013 it\u2019s just pure desire and enjoyment. I also have a Canon A-1, a Minolta X-700 and a box of 35mm point and shoot cameras that I occasionally pick up and take out with me. I\u2019m not massively technical and I don\u2019t get too over the top with specifications, I just have found things that work for me.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Cat. Mamiya RZ67, 110mm on CineStill 800T<\/p>\n\t\t<\/div>\n\t\t\n

\n

Oliver’s top tips for new film users<\/h2>\n

* Just keep experimenting and know that failing and making mistakes is all part of the process.
\n* Don\u2019t be discouraged when things go wrong.
\n* Practice makes perfect.
\n* And enjoy it \u2013 that\u2019s really important.\u2019<\/p>\n

\n

To read more articles like this one subscribe to our print magazine today. You\u2019ll save money every week and enjoy having each issue delivered to your door!\u00a0Click\u00a0here<\/a><\/strong><\/h2>\n","protected":false},"excerpt":{"rendered":"

Film photographer Oliver Mayhall is happy to leave the meaning in his images ambiguous, while trying a range of interesting approaches. Damien Demolder finds out more<\/p>\n","protected":false},"author":7,"featured_media":148423,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1617,1624,39],"tags":[],"product-category":[],"class_list":["post-148422","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-inspiration-film","category-photo-news"],"yoast_head":"\nWhy this film photographer is happy to keep the 'meaning' of his images fluid - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Film photographer Oliver Mayhall is happy to leave the meaning in his images ambiguous, while trying a range of interesting approaches.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why this film photographer is happy to keep the 'meaning' of his images fluid\" \/>\n<meta property=\"og:description\" content=\"Film photographer Oliver Mayhall is happy to leave the meaning in his images ambiguous, while trying a range of interesting approaches.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\" \/>\n<meta property=\"og:site_name\" content=\"Amateur Photographer\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/Amateur.photographer.magazine\" \/>\n<meta property=\"article:published_time\" content=\"2021-04-28T08:26:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-07-12T17:14:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2021\/04\/OMAYHALL_Film_AP_Magazine-4.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"791\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Steve Jones\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:site\" content=\"@AP_Magazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Steve Jones\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\"},\"author\":{\"name\":\"Steve Jones\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/#\/schema\/person\/97055e11a17e073555cf1df246de195c\"},\"headline\":\"Why this film photographer is happy to keep the ‘meaning’ of his images fluid\",\"datePublished\":\"2021-04-28T08:26:17+00:00\",\"dateModified\":\"2021-07-12T17:14:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\"},\"wordCount\":2530,\"image\":{\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/sites\/16\/2021\/04\/OMAYHALL_Film_AP_Magazine-4.jpg\",\"articleSection\":[\"Film\",\"Inspiration\",\"Latest news\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\",\"url\":\"https:\/\/other.kelsey.host\/amateurphotographer\/film\/inspiration-film\/why-this-fim-photogrpher-is-happy-to-keep-the-meaning-of-his-images-fluid\/\",\"name\":\"Why this film photographer is happy to keep the 'meaning' of his images fluid - 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