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    Contantphotog

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    RISC EN EAU aks} (OR, FOR THAT MATTER, RESTING AT ALL) photograpner ‘OLYMPUS USER | winter 2006 | wanwolympuscouk | ag PORTFOUO SIMON LAWRENCE SIMON LAWRENCE PROBABLY doesn't qualify asa renaissance man yet, but he's stil a breathtakingly busy individual: he Is a freelance photojournalist specialising in motoring, nature, profile and travel ‘Imagery, and his writing often accompanies his pictures. He's lecturer in photography and Photoshop skills, ‘and Is nthe process of writing two books on photography. He's been working for Granada TV as a freelance cameraman for more than a decade. He is a ‘rained hypnotherapist and counselor, and contributes ‘regular column to a complementary health magazine, ‘hich is also being complied into a book. | speak to him ashe prepares fora three-week trip to California; he's ‘going on business, naturally. “Work to mei not work,” Simon explains, “My wife ‘would say | was obsessed with I, but photography, ‘ting and filming is really a lifestyle.” His pace Is relentless: 70:80 hour working weeks are a regular ‘occurrence. “I might go down the pub sometimes,” he Confesses, “quite often, actually. But usually! come home and do abit more writing.” 24 OLMPUSUSER | winter 2006 | wemuolympus.cauk accessible portfolio seems to represe nde see ada well” he muses “If photograph something, want to expan it as well” Simon seems most concemed with creating imagery that, f not wholly ‘tree’, atleast caries ang of truth for the viewer. The attempt to see things as they really are extends to empathising withthe subjects of his profile photography, ‘whom he also interviews. Here, his diverse professional experiences come in handy: “I think being trained in] counseling makes you really sit down and look a the character that you're photographing or talking to, and adjust the way you are going oft in theirtves for, that moment.” Despite this ability, Simon distikes studlo-bound work i's not ‘ofthis worl realy, st) preferring instead to get ‘ut, without the encumbrance ofa tripod or other specialist equipment, and search for, Interesting subjects as unobtrusively as possible, Olmmpus's discreet and highly portable cameras ad tis process: “Theyre subtle, well ade pieces of equipment that {can point at somebody and theyre not going torun off or come and beat me up!” ‘Simon always knows when he's found his shot: “it love at ist sigh,” he says of his nature photography. "You just see something that atracts you and you want to go with it. | dont go craving through the grass; I see something, literal point the camera and clickit” He believes this same intutive method gives “a sense of place” to his travel photography and is confident enough not to identify any locations when his prints ae exhibited because, “people wil then top and talk to me about them. Nine tines out of 0 they wil know where they come from because it speaks of where itis” The flexbilty of Olympus equipment has also assisted his instinctive shooting style: he ses an Olympus adaptor to make use of old Zuiko telephoto lenses *I ke the dexterity of being able to feel where the point of focus is. {ts Uke using the old 35mm camera, but ve {got the benefit of modem technology: can have alook straight vay to see five made atallsup oft; which still dol” ‘When he doesnt get the shot he wants, he tiles to findit In post-production ts ask he aims to pass on tothe students whom he lecturesin Photoshop skis. Many are reticent to manipulate Images, on quast-ethical grounds, ‘bt despite his love of impulsive ‘pointing and. Clicking’, Simon argues against shooting thousands of mages in the hope that providence will bestow a great picture upon Yyour memory ard. Good photography, at least Inthe ong term, is a matter of graf “Try and ‘work each image and make that image work {or you," he advises, *50 that youre not going ‘to waste your time just deleting images and hoping that one of them will come out.” The suggestion s that searching for and realising the potential in an image means that ‘you refine your eye fora good subject. This philosophy seems to carry over into one of ‘Simon's more unusual sie projects: the ‘Positive Mind’ series of articles he writes is. concerned with changing the negative ways “IT’S LOVE AT FIRST SIGHT: YOU JUST SEE SOMETHING THAT ATTRACTS YOU” PORTFOUO SIMON LAWRENCE inwhich people peceve the word and themselves. One quotation fromthe series Suggests why the idea of capturing a moment through photography compels Sion so much: “in realty the on¥y thing that does exists what ishappening ght on. The pest o longer ex, and nether des the futur, simply hast happened yet. Both the past and the future are Justa part of your thoughts and memories, they only exist in your mind, notin reality.” ‘Whether Simon Belevesthat photography captures the real truth oust one persons version fit isa moot pont, bute confesses that on ocasion he hasbeen known to revise realy complete, n Smors defence, Photoshop offers him the ultimate safety feature when it comes to motoring photography. Hs ove of low angle photography saw him hanging precariously out ofthe backs of vehicles traveling at go miles per hour, with his feet ‘wrapped around the seatbelt, amethod that earned himthe add police caution, and one not to be recommenced With ane person driving ‘Simon's ar and another person diving the vehicle he was shooting this was both a dangerous and labour intense process. Thanks to the wonders of Potashop, he can

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