This month Exposed hears from photographer Eddy Massarella, on his journey into the world of photography, his creative process and advice to budding photographers.
Could you tell us a bit about yourself and how you got started in photography?
I trained as an actor at drama school in London from the age of 19, working across theatre, film and TV.
Along the way, I bought a 35mm Olympus OM2n camera to capture the places I went with work, and take photos of friends, family… the usual things. Eventually, I bought a small Fujifilm in 2019 because, as we all know, shooting film can get pricey fast if you’re a bit trigger-happy.
When lockdown hit, my girlfriend had just signed with a modelling agent and needed some portfolio shots. Because of restrictions, I offered to take them – it was more of a ‘hit and hope’ shoot if I’m honest, but they turned out alright. I started shooting more models, doing simple go-sees with agencies, learning as much as I could. Looking back at some of those early photos, I often wonder what I was thinking, but I now see it as part of the process.
I was then lucky enough to meet Cordelia, who worked with the brilliant photographer Greg Williams. Despite my limited experience, they took a chance on me, and I started as a runner for a shoot in central London. I was hooked. The sheer amount I didn’t know was so exciting, and I threw myself into learning as much as possible. Mark Hilton, a brilliant photographer in his own right, taught me so much on those shoots.
A short while later, after a few more extraordinary jobs with Greg’s team, I began to wonder if I could do this myself. The answer was ‘only if I worked incredibly hard.’ So I did. I kept shooting test shots with models and agencies, picked up any job I could with my camera, while still running coffee shops with my brother Joey and going to auditions. Then came a massive turning point: the opportunity to work as a second stills assistant with Greg. I leapt at it, said goodbye to the coffee machine, and wrote to my acting agent to step away from that world. I owe a lot to Greg, Bob, Cordelia, Annie, and Mark; this feels like a good time to say thank you.
Since then, it’s been a bit of a wild ride, with ups, downs and experiences like no other.
What’s your process when approaching a new photographic project, and how do you ensure it stays true to your creative vision?
My process changes with each project because every project is unique. I always start by listening to the people who’ve commissioned and trusted me with the project. This informs every decision going forward.
Once the brief is clear, I look at how I’ll light it. A DOP once told me that our tool isn’t the camera, it’s light. I love that. Light can be manipulated in endless ways – my job is just to find the right way to do it.
Staying true to a creative vision comes down to preparation: creative briefs, realistic goals, conversations with the hair, make-up and wardrobe departments, shoot plans, lighting… if everyone knows exactly what we’re shooting and how we’ll achieve it, good things will happen on the day.
What’s the secret to good portrait photography, and who’s the best subject you’ve worked with to date?
I wouldn’t say there are secrets, but there are fundamentals: light, composition, exposure – these need to be understood inside out. But if I had to pick one thing, I’d say always be kind. Be kind to the crew, the producers, the clients, and most importantly, to the person in front of the camera. It’s a vulnerable position for the sitter, and empathy is key. It’s easy to say, “You look great,” and it goes a long way.
I’m not sure I like the term ‘best’. Every person I photograph brings something unique. There are, however, certain photographs that stand out. One is of Sienna Miller, taken for the new Twiggy documentary. Sienna had only just met me and was understandably a bit reserved. There’s this idea that a subject needs to be comfortable in front of the camera – I disagree. I think you have to embrace what they give you in the moment. So I captured that shyness in just 10 frames: her hands and shoulders closed off, nearly tugging at her sleeve, her eyes elsewhere. There’s something powerful in that.
You’ve recently moved to Sheffield from London. In terms of creative inspiration, how do the cities differ?
For me, a place itself isn’t the driving force for creative inspiration. It’s the people I meet, and the people I’ve met and worked with since returning to Sheffield are no different from those in London. Creative people want to create – put us on the moon, and it would still be the conversations and collaborations with those around us that inspire.
What advice would you give to budding photographers?
I have two bits of advice, which I still try to follow myself: Learn the rules so you know when it’s OK to break them. A slightly blurry, off-kilter photo that oozes authenticity is much more interesting than a tack-sharp image sticking rigidly to the rule of thirds but lacking soul. Understand the rules and know how to use them, but remember they’re not set in stone.
Learn from others but don’t compare yourself. It’s easy to compare your work to others’ – I still do – but it can be incredibly detrimental to your growth. Learning is constant, and no photographer feels they’ve reached perfection. Photography, like all art, requires patience and practice. Take on any job – corporate, fashion, portrait… it’s all beneficial and brings you closer to your goals.
Oh, and reward yourself. Be kind to yourself by looking for the positives in your work!
eddymassarella.com
