INTERVIEW // A conversation with Ryan Muirhead

I stumbled onto this great interview over at ....ENJOY


I think I knew really shortly after I look my first picture, to be kind of cliché. It was such an out of the blue experience; I had never done anything artistic before. I was going through a really hard time and a friend asked me to take a photo for them and I just did it, and a whole bunch of emotional content I hadn’t seen coming out worked its way into the picture.

I think my friend recognized it before I did because she had it printed out and started showing it to people and saying ‘Ryan made this.’ I was on the set of a movie, and the director of photography saw it said that it felt like something. As though I was communicating something. I can honestly say that that wasn’t even my intention. Just from that kind of feedback it hit me really fast like ‘You do have something to get out that you haven’t had the means to get out before’ and I think it just snowballed.

I shot something later that day and the next day. I ordered a DSLR a few days after that and honestly it hasn’t been more than a couple of days that I have gone without shooting since that happened about 8 years ago.


Home for me is Portland, Oregon. I moved there from Utah about two years ago. And work is a really funny definition. Work would be where I shoot from. I don’t really take any shoots for money. All my money is from teaching and print sales. So where I work is my everyday life wherever I end up, either teaching or traveling, so work is kind of everywhere. There is no start and no stop to it I guess.


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PHOTOGRAPHER // Alasdair Mclellan

BoF talks to photographer Alasdair McLellan about his personal and professional path, from DJing and taking pictures of friends in the South Yorkshire village where he grew up to shooting covers for Vogue.

ONDON, United Kingdom — Alasdair McLellan is sitting in the corner of Bar Bruno in London’s Soho with a cup of strong milky tea. It’s an old-fashioned sanctuary from the neighbourhood’s self-aware cafés and stage-managed members' clubs. “It’s a locals’ place,” says McLellan, who prefers the casual setting to the table originally booked by his assistant at the upscale Charlotte Street Hotel.

The attention McLellan pays to the mise-en-scène of the interview offers an insight into his photographic style, which refers to early years spent growing up in the mining villages of South Yorkshire (where he took pictures of friends messing about and DJ’d in the local youth club), but nonetheless reflects a consciously created world. The same might be said of his outfit. “It probably looks like something you could pick up at the market in Doncaster,” he says of his zip-up, cropped houndstooth jacket, which turns out to be Prada Autumn-Winter 2013.

But McLellan is not some hokum pretender and both his artistic voice and heart are still closely bound to his northern adolescence. “I remember getting a camera, I think it was a Halina, for my thirteenth birthday and thinking, ‘Oh this is quite good.’ I took it everywhere. I took it to school. And I remember my mate and his girlfriend and my girlfriend all came to my house and I started taking pictures of everyone and I realised it was quite good fun. The girls liked Bros [a British band popular in the late 1980s and early 1990s] and they did my hair like Matt Goss and Jason Donovan and took pictures of it. We were listening to everything in the Top 40 at the time.”

His initial enthusiasm for photography became more serious when he decided to study it at school. “For my GCSE, again I took pictures of my friends, but it was more of a sitting. I think we were trying to recreate posters she had on her wall of Madonna — it was a Herb Ritts image. I shot it on black and white film, which I think is pretty cool for a 16-year-old. I remember watching the Ritts’s video with Madonna and the Pet Shop Boys videos and thinking, 'That looks really appealing.What is that? What kind of job is that?'"



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PHOTOGRAPHER // Willy Vanderperre

A interview by Wayne Sterling

Willy Vanderperre studied fashion design and photography at the Royal Academy of Fine Arts in Antwerp alongside the key Belgium fashion designers of his generation. He still lives there today.

Could you start Mr Vanderperre, by telling us a little bit about your background and how you came to be a fashion photographer?

I grew up in the southwest of Belgium, and at an early age I knew I wanted to do something creative, it was my dream. I was obsessed and was following art school every weekend. Then around my thirteenth year I went full time to art school, nearby where I lived, in the same province, the West Flandres. When I turned eighteen, it was the period in which fashion was really important in Belgium. We had the boom of the Belgian designers ‘The Antwerp 6′ and you would see them written up in magazines everywhere. What that early influence of fashion did in my life was, that it gave me the extra push to study fashion at the Royal Academy of Fine Arts in Antwerp where everybody from that group of designers came from. When I arrived in Antwerp, Margiela had just started, but was doing one amazing show after the other in Paris. It was the early 90′s, the period when fashion and photography and art photography… they started to flirt with each other, like a cross-over, where it was acceptable for an art photographer to do fashion photography and vice-versa. It was around that time that I went through a transition, and where I found, that for me the medium of photography was more interesting. I was more excited, to go about finding images, cutting out images, taking pictures…creating the world around it, than the actual design of fashion itself. Because I always thought that at the end, to translate and capture the emotion I wanted, it was more efficient to do it in images. I think that is the main reason why I went through the transition from studying fashion to photography.

It sounds like those days at the Royal Academy of Fine Arts were quite a defining influence on your aesthetic.

Oh yes for sure, because you know, you come to the ‘big city’…Antwerp…and only entering this ancient school building (the architecture of the school itself dates from the 1600′s) …, where you had corridors filled with Roman and Greek Renaissance statues and you have that feeling of a lot history, the weight, you could actually feel, in this school. That was quite impressive. In the backyard of the school was this little building, on the verge of collapsing. You would have to very carefully go over the stairs, because if you took one mis-step, you could literally push your feet through them. It was almost dangerous. So I think that the whole thing melted well together. It was the switch from the 80s to 90s, the reaction on excess with minimalism and deconstruction, the first appearance of grunge. So that feeling of romanticism, together with the history, the building and the run down corridors with the statues, it really did make a big impact on how you formed your visual language. I really think there was something quite dark and magical about it, matching perfectly the zeitgeist of the period.



Source ( Interview(A interview by Wayne Sterling)