Clive Eggington's Professional Portfolio

United Kingdom

Rebecca Bradley interviews film and theatre photographer Clive Eggington, whose clients include Sony Records, EMI, the National Centre for Popular Music and Norwich Union. Hailing from Sheffield, Clive started his career in photography age 32, after stints in the army, as a musician and a fine art student, which just goes to show – it's never too late to start.

You didn't get into photography until your early thirties. What did you do before that?
I, didn’t pick a camera up until I was about 32, never even thought about it. My childhood dreams were pretty standard: opening bat for England, scoring the winning goal in the World Cup, talking to the girl with red hair in my class etc. When I left school I joined the Army, it’s all there was in the three day week world of the 70s. I’ve worked in the music industry as a session player, toured with theatre groups, translated at trade shows (I speak German) and more recently I’ve been an educator, lecturer, call it what you will. All in all I’ve had a great time, really interesting work and people. Long may that be the case.

What do you consider to have been your greatest photographic achievement so far?
My main achievement is having been able to work with some truly gifted people from artists and designers, to dancers and musicians. Photography can be such a solitary act and I relish collaboration with people prepared to take a few risks, there is so much bland, safe rubbish out there.

What were your expectations of a career in photography? Have they been met or exceeded?
I started out with no expectations at all, not that sure I have any now to be honest. The industry has changed beyond recognition in the last few years mainly because it is such a democratic medium; everyone has a camera and the ability to share their results with whoever cares to look at them via the Internet. The buyers of photography know this and act accordingly, driving prices and standards down. Some photographers are even foolish enough to give their images away.

Have you taken any courses on the subject or are you self-taught?
I haven’t trained formally as such, but nobody is ever self-taught either. I learnt from assisting jobs, books, friends and more recently from the Internet. My students keep me on my toes too, I learn loads from them!

You mainly specialise in film and theatre? What other types of photography are you involved in and what do you enjoy the most?
I wouldn’t say I specialise in anything really, however I do enjoy working in other creative environments, such as with musicians. My most recent work has been purely observational, not staged, just stick me in a situation and let me get on with it. Ignore me and do your thing. Working on films is a bonus because no one cares about the stills guy, they are worried about the moving imagery, so you just get left alone, there’s a real freedom in it.

Do you spend a lot of time enhancing your images once they have been taken?
Because I only work with film I just have the standard darkroom practices to use. Enhancing something could mean just printing it properly. I have been known to enhance negatives with sellotape, chewing gum and sandpaper. 120 grit works quite nicely. I do spend a lot of time producing final images, but I love the darkroom, some days it’s exactly what I need. Turn the phone off, the Bach on and print.

What type of camera(s) do you use? Do you find some types more useful for certain projects?
If you can put film in it I will use it. I have toy cameras (my favourite is an action man which takes a 110 cartridge), I have something from almost every format made up to 10 x 8 and yes, of course, some are better suited to some jobs than others. On set or for my documentary stuff I just use a couple of M6’s with different lenses on each one and sometimes different film in depending on circumstances. But really I try not to dwell too much on equipment; I just need it to work properly, like any tool.

What type of lenses do you have and which do you use the most?
I have too many lenses, it’s ridiculous. I use about two on my 35mm gear and one on my medium format. Always prime, never zoom. OK, I’m a snob! You always think you need more stuff and it’s just not the case. I could sell 80% of my gear and not even notice. I used to be a decadent fool. Now I’m just a fool! My Mrs would love to stick my gear on Ebay!

Do you prefer digital or film photography?
I try not thinking in those terms. There is no such thing as digital photography or film photography. There is just photography. Digital and film are just two ways of capturing an image. They are both valid means for doing that.

What has been your favourite commission so far and why?
My favourite commission, that’s difficult. My work with the Veterans of D-Day was a joy to do. Going back to Normandy with these men and women for the 60th anniversary was a moving and at times hilarious experience. A very human and humbling experience. Visit the Diamond Days website for more information.

How do you think photographers should aspire to take film and theatre pictures?
This is not meant to be arrogant in any way it’s just that I found photographing on film sets and for the theatre really easy. For a start the sets or locations are already managed, so is the lighting and you are working with people who get stared at for a living, I just relaxed and started looking.

Do you follow any specific rules when taking photographs?
Rules, that’s an interesting one. I’ve tried to think about my routine in making my pictures and from what I can tell it boils down to doing your research, being punctual, being polite and professional. As far as the photographic side is concerned I just keep it simple. Never try a new camera or film on a job, know when not to make any noise on set [no motor drives], travel light; sometimes you might have an 18 hour day. I have absolutely no rules about composition or cropping or whether something is sharp or not. I want energy and passion, I want to be moved.

Do you prefer colour or black and white photographs and why?
Again, that’s not my primary concern. I love good photographs. Look at the work of Bruce Davidson, he moves freely between colour and black and white. There are some who only need[ed] monochrome to say what they want, Francesca Woodman, Eugene Richards etc. Others need colour, William Eggleston for example. What photographers forget is that the people who are looking at your work can understand both; they have seen both and accept them for what they are.

On what occasions do clients come to you for photographs?
I tend to work now with a series of relationships, not clients. Designers who I’ve been working with for some time and also regard as friends. I work with individual dancers, models, musicians and try to deal with how to convert what they do in 3 dimensions back into 2.

On occasions, people may criticise your work how do you feel about this?
Today I feel fine about critics; tomorrow I may want to introduce them to their livers. I’m human so the normal rules apply. I have been judged on one image resulting from a hellish 3 week stint without the critic having any knowledge of what it took to get that picture, that is our lot, it’s not about to change. Photography is a whole lot more than that final print and we have to learn to be the best judges of our own work.

Where does your inspiration come from?
People and the things they do.

Do you prefer natural light or studio lighting and why?
I really have no preference. Both have very different qualities and professionally you need an understanding of both.

How do you go about deciding what to charge clients?
Always look in the car park when you go in to show your portfolio, then, once you’re in, look at their shoes.

How do you promote your services to find new clients?
I have a website of course, a new one is imminent, and I send out cards then follow up with a phone call. Pretty standard stuff really. On a positive note, most companies need to see new people, need to keep looking, so very few turn you down when you call to see the Art buyer in a company, that’s their job.

What would your dream commission be?
Documenting my city, Sheffield. Not glamorous enough huh? Then you’ve never been.

One word of advice for anyone considering breaking into film and theatre photography?
Be interested in the medium of film and theatre, and the people who occupy them, otherwise forget it.

For more information on Clive Eggington, please visit his website.

Clive Eggington's Images

 

 

Is this your portfolio? Ask us about how to add pictures