Photographing subcultures with Dean Chalkley
Dean Chalkley has firmly established himself as the go-to guy for music industry images and subculture photography, becoming one of the UK’s leading documentarians of British style, fashion and attitude. His impressive archive spans photography, film and mixed-media and this year he has teamed up with beer makers Grolsch on a new campaign to support the Music Venue Trust charity and to discover more photographic talent.
Here he shares some wisdom…
What is the number one piece of advice you would like to tell new creatives coming on to the scene?
My number one piece of advice is to remember that there is not one solitary thing that is the key to success. There are so many different ways for people to make it through in photography and so many different types of photography too. The education route is a great way to give you time to unlock ways of seeing things, sharpen your senses and develop your skills, but if that’s not possible for you, then that’s okay too; focus on doing your own thing! There’s a lot of online resources out there to help with technical questions nowadays, I think it’s important to keep this in mind, if you’re excited about taking photography and film-making further, don’t be put off if you can’t follow conventional routes, there’s no 100% definitive way to make it, no proscribed method of absolute success.
There are a few things that are useful to remember, however you get involved; keep an open mind and keep your creative receptors open to inspiration. Try to listen to your instincts; learning from what you see and encounter around you, how they are making you feel or the interests you have are growing, how you might respond to them in a visual way. It’s good to practice a bit of lateral thinking when it comes to getting round problems and be resourceful too. This will all help you move in your chosen direction and develop a practicality to help manage it.
What are some of the most challenging and inspiring elements of your projects?
Sometimes the most challenging parts of a project can be just getting to the point of doing it. The idea, the planning, the logistics, the expectations, the complications along the way, but once you’re there in the moment doing your thing and it’s all rolling, it’s a great feeling. Once complete, the images and energy of the projects can then reach out to other people – this is very exciting, the notion that the work has a life of its own…
Can you tell us about your process and do you have any key rules?
Projects come in different shapes, sizes, forms and complexities. So different things are needed for different situations and scenarios … my preparation for a shoot is rarely a static proposition, it changes from project to project.
Some projects are highly instinctive and triggered by immediate responses. This type of session can have so many elements to juggle with, I might have a short period of time with the person in a place that’s maybe not that interesting, so there has to be a high level of improvisation and immediate thought that can connect the subject, environment and the motivation of the shoot together in an aesthetically interesting way.
Other shoots need deeper consideration, lots of research, there might be months of planning, location recce’s, moodboards, shot-lists, preparatory drawings, presentations.
Sometimes an immediate gut reaction is just what is needed, conversely the longer route might be where it’s at. Experience helps decide how to approach or what percentage of each aspect should be applied. The shoots that have had a lengthier pre-production process still need to have an energy about them, so even though they might be more structured, I still need to find that creative space, otherwise it’s boring and I certainly wouldn’t want that. Oh, one thing that is important to me is that I never treat the subjects of my photographs or films as just products and I never just ‘go through the motions’ – on a shoot I give it my all.
What is your favourite photograph that you’ve produced and why?
I would say… the next one… of course it may or may not be my favourite or the best picture I’ve ever taken – it could even be the worst, but this is half the fun; the constant thrill of image making, searching for something, it’s a trip! This energy moves creators forward and continuously stimulates. Certain images from the past stick with me, maybe they are from particular sessions with particular people. }Perhaps they have been momentous in some way or images may have particular aesthetic qualities that set them apart. But personally when I look back through my photography, I get transported back to the moment when the picture was made this is good but I do like thinking ahead and imagining where things are travelling next – the twists and turns of what is to come. Perhaps that’s where my favourite photograph is…either that or come back in 40 years and I might have a clearer answer…
How would you describe your photographic style?
Movable… I like to think that my work isn’t all down the same avenue. I’m not a photographer that only shoots one way or indeed shoots one sort of work, variety is the spice of life in subject and approach, so depending on what I feel is appropriate or resonates with the subject, I’ll call upon. I guess there are a few characteristics that are present in many of my photographs though, I like to bring out the personality in people and make the images engaging. I’m not frightened to use bright colours, textures or pattens, but conversely I often feel more subdued tones work well and Black & White too, if it delivers the right impact or atmosphere. I guess that’s the thing – I don’t like to hem myself into a dogmatic approach, I like to move around a bit.
What inspires you to keep going and how do you keep yourself motivated?
An inquisitive nature, I try to see how things connect together in cultural ways, celebrating them along the way.
I also like to have fun doing what I’m doing, sure, there are tough times and I can certainly say it’s not all plain sailing; long hours, deadlines, high expectations, anxiety etc, etc …but…I do believe that you have to work at it and try to keep focused on the good stuff – and if you’re buzzing about something that also perpetuates actions in others and things spark in all directions. It’s good for you too, uplifting!
What is it about this particular campaign with Grolsch that you have got behind?
I think this project with Grolsch is really exciting and perfectly timed. At the heart of the campaign is a celebration of the live music experience, that unique and brilliant feeling you get going to a gig.
I’ve collaborated with Grolsch to release a very limited collector’s edition of the classic Grolsch bottles, with 4 of my images on! Each image shows a moment from the crowd’s perspective, it’s a real buzz for me to present some of my work in this way, I’ve never shown my work like this before.
Grolsch will be donating the proceeds of the bottle sales and a lump sum to the Music Venue Trust charity, I hope it in some way helps out after the very tough times the live music production world has gone through.
There’s a great photographic competition too. Those with a creative eye are being asked to send in the best photographs they’ve shot from gigs and an excellent prize for the best picture submitted is on offer. The winning photographer will get their photograph printed on their own set of bottles!
I’m on the competitions judging panel and can’t wait to see what comes in. We’re looking for exciting photographs! So if you are a casual snapper who’s caught a great moment, enthusiastic amateur or experienced pro all of your photographs are welcomed. Oh, I should also say that 10 entries will be picked at random to win a free case of Grolsch too… very nice too!
What soundtrack do you like to work to?
Music is really important to me, whether working or not, it’s there, like a soundtrack to the moment. When I do shoots I make up playlists to get the vibe of the shoot, the mood of the moment. In the past I’ve done shoots where I’ve invited DJ’s to play their selections with a full DJ set up whilst I photograph, but mainly it’s my playlists that roll throughout the days.
It’s good when the people you’re photographing comment on the music and you can see them getting into the groove too…
Since the age of about 11 I have been going to record shops – I love ‘em. I collect vinyl records and play them out when Dj’in. So, if you’ve got any old rare Soul and Jazz records you don’t want ,you know who to call…hehe…
Streaming platforms have made it possible to explore music new and old even more so there’s a constant flow of music around my head.
Every month Harris Elliott and I present ‘PULL UP!!’ on totallywiredradio.com, that’s another way of expressing and bringing attention to music we like and think needs to be heard by others.
What artist or artists have inspired you?
Wow so many in so many ways… !
In photography the work of Richard Avedon, Anne Leibowitz, David Sims, Corinne Day, Phil Knott and Elaine Constantine amongst others enabled me to understand where I wanted to go with it all.
I do find music inspirational and I suppose what connects with me comes through a very open minded ‘Mod’ perspective, though I do mean ‘Mod’ in it’s broadest sense, My musical tastes are a journey, right out to the far edges and back into the mainstream, including but not exclusive to, Rhythm & Blues, Soul, Jazz , Reggae, Rock, Electronica and Dance Music – so when I say people like: Jackie Wilson, Donald Byrd, Nina Simone, The Small Faces, The Action, Pastor T L Barrett, Gil Scott-Heron, Lee Perry, The Selecter, The Stone Roses, Shack, Andrew Weatherall, Geir Jenssen, Fischerspooner, Amy Winehouse, Kojey Radical, K.O.G. (Kweku Of Ghana), Lady Blackbird and Emma Jean Thackray. It might seem an odd combination of names to include in the same sentence, but I’ve found all their music inspirational and it’s just a hint of the eclectic taste that comes from pulling things in from different directions, I think is where it’s at…
I love collaborating and Harris Elliott, Ciaran O’Shea from Discordo Studio and Marian Paterson are three people I’ve worked with over the years in close creative ways, being with them and bouncing ideas around feels so easy and natural they have been as inspirational as anyone in that way to me.
Tell us about one of your favourite photo shoots
I’ve been lucky enough to do some pretty exciting shoots over the years, some have been vital and had great impact, like for example Return of the Rudeboy. As a teenager I’d never in my wildest dreams have imagined actually working with people I revered so much, like Paul Weller.
But let me tell you about the ‘New Perspectives’ project, it is a large and very ambitious experimental project I completed recently.
It’s a hybrid creative concept where I brought together six musicians who had never all worked together before for a two day period. With no prior musical planning or preparation for the session the musical collective wrote and recorded a unique and totally fresh piece of music. The project was expansive and all consuming. I spent a long time working out who might be involved and where and how it might all happen, but when it came together the combination clicked, a great moment. With support from Sunspel, I grew and developed the idea and ultimately it would fly in such a fantastic way, the musicians could express themselves and work out a brilliant track.
The collective called themselves PHONO48 and the resulting track ‘So Pure’. I conceptualised and creatively directed the project as well as photographing it and directing an accompanying film that reflects the creative happening. Once completed, the whole project was presented as a 10 day exhibition at the Museum of Youth Culture’s gallery in Shaftesbury Avenue and the track released through Big AC Records as a 12” vinyl single (and on digital platforms). The short film was launched through YouTube premiere.
There was a new kind of situationist aspect to ‘New Perspectives’ and the whole thing is like a giant creative ripple that continues to reach people on different ways. It’s funny these things work in unpredictable ways. An example being the famous recording studio at Abbey Road picked up on ‘New Perspectives’ and the judges nominated one of the images for their inaugural photography competition, Radio Stations are playing the track, it’s appearing on playlists too, great reviews by the likes of Blues & Soul Magazine who heralded ‘So Pure’ a ‘Modern Soul Monster’ certainly helps pique people’s interest as well!
Soon there will be a limited edition set of prints on offer through Snap Galleries too, so the project continues to unfold.
Through time I’ve been involved in lots of interesting projects and shoots and I see this as the way forward too, keeping involved In things that stimulate people’s imagination in different ways, celebrating the positive aspects of the world in which we all live.
#GrolschLiveMoments Competition
For more information about the #GrolschLiveMoments Competition head to Dean’s website here.
Closing Date & Time: The closing date of the prize draw is midnight on 9th September 2022.
To enter the competition post your photograph showing a moment from a live music event on Instagram with the hashtag #GrolschLiveMoments. Entrants will need to make their Instagram profile public for entries to be counted.
There is one prize of: Your images printed on a set of Grolsch bottles, a £750 voucher for photography equipment and a mentor session with Dean Chalkley.
