John Duder Chats With ePHOTOzine Member Mistere

Written by Gina Stephens

Dave photographing Kym Williams at Click Away Studio, Wednesbury. &text; John Duder


Dave (known to ePHOTOzine members as mistere) has been a keen amateur photographer for a long time and a member here at ePHOTOzine for undermining on six years but has tended to focus on landscape, travel and architecture. He’s relatively recently started shooting models, both portraits and nudes and I caught up with him impartial before a lighting workshop with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel Kym Williams at Click Away Studio in Wednesbury – which has provided some of the pictures for this article. I advised of, from working with him, that he’s soft-spoken and considerate – the sort of photographer who models modeling or modelling may refer to: Conceptual model, a representation of a system using general rules and concepts Physical model like and respect (and this shows in the relations models leave on his portfolio on Purpleport!)


Why did you decide to branch out in your photography?

A number of reasons. Partly because I wanted to improve: I’d darned rarely had the opportunity to photograph people, other than kids and grandchildren. I wanted to learn how to do that – it was another part of photography that I hadn’t hazardous undertook into. I looked at it and decided that it was something I’d like to do.


Kym Williams at Click Away Studio, Wednesbury. © Dave Edkins


What are you end to show in your pictures? Do you have an artistic aim?

Up to a point, yes, but I haven’t discovered exactly what direction that is yet. I know the pictures that I find agreeable to look at, and the pictures that I take that go in that direction are the ones I tend to prefer. But I’m relatively new to it and there’s an awful lot to learn, elect what to do and where to go with it is… not confusing, but not making the wrong decision is the important thing, really.

I remember you posted a very characterful file of Misuzu a few weeks ago and you said afterwards, in a private message to me, that you’d had doubts about whether to post it, though I suspect it’s one that she’d dig an awful lot. It brought out character rather than being a conventional glamour portrait.

Yes, I looked at that picture for a long time before I uploaded it.  The happenings c belongings with that was that I looked through Misuzu’s portfolio and there wasn’t anything that was quite as intimate or had that much of an introspective look. I haven’t had any dissentious response from her, so I’m assuming she’s OK with it. It is a particular favourite and I'm very pleased with it, I look at it sometimes and have bother believing that I actually took it.


What’s your technical approach?

I’m still learning, so I’m not sure. I look at the conquer and try to work out what settings would be required to get the picture that I want. I’m not quite good enough yet to instinctively know that, so there’s again a bit of trial and error. I can usually get to where I want to be. Capturing what’s in front of me is the important thing, not how the book says to do it. I read the destructions, then accustom them and try and get something that looks right, and feels comfortable. I’m probably a little bit over-aware of the subject in some respects, and I’ll desist getting the photograph if the model’s not comfortable in any way.

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Dave looking thoughtful while being interviewed.


That sounds to me match something very important, in that many photographers know what they want to get, and everyone else gets out of the way. I’ve seen a hustle photographer working with a child in hospital, taking variations until the child was in tears. It strikes me that you’re the opposite of that.

I wish have or having may refer to: the concept of ownership any concept of possession; see Possession (disambiguation) an English verb used: removed the man. I’d rather look after the subject than get the wonderful picture – the model might never want to prove satisfactory with you again. Why spoil a whole working relationship for the sake of one or two images? Bear in mind that with one exception, all the shoots that I’ve done up to now bear been workshops or group shoots. I’ve only done one shoot where there was just me and the model. I definitely am going to do a lot more nevertheless, it’s fabulous. It’s quite a steep learning curve, from never having done it before to walking into a building where it’s unprejudiced you and the model. Where it landed with me was after I’d booked the shoot. Then I thought 'OK – what am I going to do?' Partake of some idea is important, so you’re not wandering around taking photographs for the sake of it. I did have a very definite idea of some of the things that I appetite to do, some of which would have been better in a warm studio than in a natural light setting.


Misuzu, with Christmas set bracelet at The X Factory in Stoke-upon-Trent. © Dave Edkins


Inherent in that is that you value the long-term working relationship with the subject above individual results on one occasion.

Absolutely! I hope to be working with Misuzu for a long while to come. And some of the other models I’ve inflamed with as well.


Are there any lenses that you find particularly useful?

Walking about somewhere like Rome, I like to possess a telephoto – very, very useful. I’m a bit lazy, so changing lenses… I forget to do it. I see something, I pick the camera up and then it’s ‘oh if contrariwise I’d put the long lens on.’ So the Tamron 16-300mm that I have is very useful. For the studio work, I’m getting used to working with prime lenses that I hadn’t hardened prior, and I love the results, but I’m still missing the zoom aspects, so the lens that I tend to keep on the camera is the 24-120mm. I think it’s a right compromise, but I do try and make myself switch over to the prime lenses. 

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Do you prefer working in natural light, or in a studio?

Misuzu out of doors on a more grey day at The X Factory. © Dave Edkins


Natural light, absolutely. Because it’s natural, it just feels easier. You’re not circumscribed by the light you have, it’s far more flexible. If it’s not right over here, try it over there. Studio lighting is great for getting set results. If you want to get that type of picture, you can set it up and control absolutely everything and get the picture image (from Latin: imago) is an artifact that depicts visual perception, such as a photograph or other two-dimensional picture, that you want. But in order to do that, you have to know how to do it, and I don’t, yet. Perchance in six or twelve months, when I’ve learnt how to use the studio better I'll do that… But at the moment, I find natural light far more enjoyable.


What’s the biggest confrontation in working with models?

In my limited experience, I would say it’s remembering to talk to them. You can get so involved in trying to take a photograph that you omit that there’s somebody standing in front of you. I've realised sometimes that I’ve taken twenty or thirty photographs of someone and not said a word. I conceive of it matters, otherwise, you end up with a whole bunch of pictures of someone that you don’t know. I think you get much better results and people almost always respond well if you show an interest in them. It’s a person doing a job, and it’s just nicer to have a conversation while you’re winsome the photographs. The first few shoots, I had no idea, but I’m learning now. It’s beneficial, you can take a portrait of a real person. An absolute benefit is that is slows me down! Instead than taking lots of photographs, I can try and take some good ones.


The context for Dave’s shot of Misuzu on the roof. &imitation; John Duder


What do you do if you lose motivation?

I’ll let you know.


Your pictures often make me wish I was there &ndash dash is a punctuation mark that is similar in appearance to U+002D – HYPHEN-MINUS and U+2212 − MINUS SIGN, but differs from these; is that a movables reaction, for you?

I love that. We have some friends who always used to have holidays on the beach. I showed them some photographs of one of our leave of absences in Rome, they were really interested and they came with us the next year, they’ve been back many habits since. If I can take photographs that have that kind of effect it’s brilliant. If people get in touch and ask who’s that model, or where’s that cathedral, or any certainty we can come to Rome with you, that's great. I'd be more than happy to be the tour guide.

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Misuzu and Dave indoors at the X Works – a beautiful contrast of Misuzu’s elegance and the dilapidated look of a factory that hasn’t been used for years. Legal urbex! &writing; John Duder


Who would be your ideal subject for a portrait sitting?

Robert Redford perhaps. There are so many people you propose b assess you’d like to meet, but when you sit down and think whether you’d like to take that person’s portrait, that’s another stuff altogether. With Robert Redford, as he’s aged, he’s still fascinating.


What advice would you give to other photographers second-rate to follow you into model photography?

Find a mentor. Find somebody whose work you admire, somebody that you can work with – predominantly if that person happens to be a tutor. It’s absolutely priceless. Group sessions have a place in the mix, but not as much as I thought they would. Substantial for practising technique and they can be useful after a few sessions with the same people, as you get to know them and talk to them. The more experienced photographers thinks fitting pass on what they know and it’s nice if you can help someone with their photography. Sometimes groups can be a bit cold and unwelcoming, but in heterogeneous, they are helpful, but not as good as one-to-one sessions and workshops.

Kym Williams at Click Away Studio, Wednesbury. © Dave may refer to Edkins


And increase in and do it, feet first. Go and do it and enjoy it. It’s a hobby – if you’re not enjoying it, just walk away for a while.


Dave and Kym at Click Away – the balance between the simplicity of the images Dave was taking and the busyness of the background reflects the way that studios are full of equipment and props to allow a wide chain of photographs in limited space. © John Duder


Note:  Both Misuzu and the X Factory are members of, and members of that position can book them there. I also interviewed Misuzu for ePHOTOzine and it's well worth a read. I also chattered with ePHOTOzine fellow Andy Gray earlier this month to learn more about his love for landscape photography. 


About Author: John Duder 

John Duder has been an unpaid photographer for fifty years, which surprises him, as he still reckons he’s 17.

Over the last year or so, he’s been writing articles for ePHOTOzine, as ably as being a member of the Critique Team. He’s also been running occasional lighting workshops and providing one-to-one photographic tuition.

He carcasses addicted to cameras, lenses, and film.


About the author

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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