Mark Fearnley
Beyond his awe-inspiring photography, Mark’s personality is as cool and captivating as his art. With a passion for exploring the hidden beauty in the bustling city streets, he radiates an aura of creativity that is contagious to all who meet him.
Notably, his workshops around the world have become a real success, rapidly selling out each time they are announced. These workshops offer a rare opportunity for aspiring photographers to learn from the master himself, delving into the secrets behind his extraordinary artistry and techniques.
So, together through this interview of Mark Fearnley to see our city with a fresh and artistic perspective.
1. Your black and white street photography is renowned for its impeccable neatness and careful composition, often incorporating geometric shapes and lines. Can you share your approach to composing your subjects and utilizing these elements to create visually striking images?
I’m drawn to scenes that are aesthetically appealing, and for me this means it’s usually graphical, which includes shapes, lines, patterns, scale, repetition and shadows. I then work the scene and wait for a human element to finish the composition.
2. Light and shadows play a significant role in your photography, enhancing the mood and depth of your compositions. How do you skillfully utilize light and shadows to add a layer of storytelling and create captivating visual narratives within your photographs?
I find myself shooting mostly in the early morning or dusk, when the shadows are long, and the light is not so intensely bright. I also love shooting in high contrast BNW: it gives mood and hard lines from shadow to light.
3.I admire your ability to capture fleeting moments precisely and encapsulate the essence of a scene. Can you share some insights into your process of patiently waiting for the perfect shot and bringing your pre-visualized compositions to life?
My style and approach are completely different to a street photographer as they tend to look more for stories, moments and people, whereas I look for the scene then the human element. I always work the scene, seeing all achievable possibilities by changing my POV and thinking outside the box - for example I place my camera at different heights or I use reflections from water or glass: I use leading lines, and all of this comes about as I visualize the scene before it’s happened.
4. Post-editing must be an integral part of your workflow, elevating your black and white images to a new level of artistic expression from the chaos of reality. Can you describe your post-processing techniques and how they contribute to the final outcome and aesthetic of your photographs?
I try to get the image 80% right in camera, and that does take a lot of practice. I also tend to shoot under-exposed one or two stops to keep the details in the shadows. I do like an inky BNW image, so I will deepen the blacks and sometimes utilize the selective tool to darken areas off and then add a vignette. I will edit for about 10 minutes at the most. Any longer than that, I usually delete it, as I believe you can’t make a bad image good.
5. If you had to distill your unique style into a few words, what keywords would you use to describe it? How do these keywords encompass the essence of your photographic approach and the visual language you employ in your work?
Mood, solitude and atmosphere.
Solitude - I am always looking for that one human element to be in the images that I take. One person against scale signifies many things to the reader - loneliness, alienation, privacy, or quiet contemplation. I am always looking for solitude in this vast world in which we live.
Mood - in most of my photography, the subjects are usually unidentifiable. For me, silhouettes and abstract textures through glass add mood.
6.What motivates you to get out of the house and capture images even when the weather is bad?
First of all, for me, there’s no such thing as ‘bad’ weather in Street Photography. The best photos you will ever get are in extreme weather conditions.
Heavy rain with people dashing about because they have no umbrella, just a newspaper overhead. A man battling with an umbrella turned inside out due to the wind. Thick snow, a blanket of white, with the contrast of a solitary figure. These are all the reasons to motivate me to get me out of the door to try and capture these moments in bad weather.
7. In a vibrant community of street photography enthusiasts, how do you maintain a constant evolution and ensure that your work remains fresh, distinctive, and outstanding? What strategies do you employ to push the boundaries of your artistic vision, stay ahead of the curve, and continuously deliver compelling and innovative street photographs?
I’ve been a painter and artist all my life and because I have a creative eye, I am always looking to create. I think that keeping consistent to a standard that you think is good enough is the hardest thing. I take thousands of photographs a month and sometimes I only get three images that I think are at the standard that I want.
8. Your workshops in London, Berlin, and Tokyo have gained significant popularity, selling out quickly. What can participants expect from these workshops, and what do you hope they take away from the experience of learning from you in these diverse locations?
My workshops are all about growing your vision and learning to see. I guide my participants to be more creative behind the lens and to think outside of the box. People are taught a different way of approaching their photography and then will be able to apply these skills to their own photographic process once they are back home.
9. As a street photographer with an eye for capturing captivating moments, how do you distinguish fine art photography from what you would consider normal street photography?
I think that street photographers look for narratives and stories, and I think that stories are always best in books. Fine art street photography - so art- always looks at its best on walls.
10. Looking ahead, what exciting projects or endeavors are on the horizon for you? Are there any new themes, techniques, or locations you are eager to explore in your photography?
I’ve got lots coming up - I’m working on a new book and I’m visiting more countries to explore for workshops, which I want to hold back on until later in the year.
Thanks Mark Fearnley and please follow and see more his works @mark.fearnley
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