Interview with Chris Hoare Photographer

Here we are again. This time we take our time to interview still life photographer Chris Hoare.


What were your earliest creative influences and interests?

My earliest creative influences probably come from film, cinematographers like Conrad Hall and Robby Muller, through to painters like Wilhelm Hammershoi, and Edward Hopper, and photographers like Stephen Shore, William Eggleston and Irving Penn.

What is your background ?

I started assisting whilst at Uni, and was lucky enough to immediately start working for some photographers operating at a high level, with big budgets and creative briefs. People like John Offenbach, Dan Tobin Smith and Greg White, and, for the last few years, for Still Life and Portrait photographer, James Day.

How much do you think photographers are influenced by photographers they’ve assisted?

I think it’s inevitable that if you spend a lot of time working for/with someone who is producing good work, that their work will have an influence on your own, especially as you’re searching for your own style, the challenge is to move that work on, so that you don’t end up merely imitating that photographer.

What draws you to still life?

I’d always thought of myself as a Landscape photographer, it was only after working for still life photographers like James and Dan, that I had my eyes opened to the possibilities of being in control of light, instead of waiting for it.

How do you keep your photography fresh?

How do you keep coming up with creative new ideas It’s hard, there’s so much photography out there, but I try to take ideas through galleries and photography exhibitions, sculpture and painting, and through film and television. I suppose one of the most important things is to have an open mind, inspiration can often come from the unlikeliest of places.

What is the most challenging shot you’ve ever taken?

Both as an assistant and a photographer, the most technically challenging shots have been of fast moving liquids, from getting the flash duration right, to triggering the camera at the right moment, can take some trial and error, but like anything challenging, when you get it right, it’s often the most rewarding.

Getting technical, what’s in your gear bag?

I rent most of my higher end equipment at the moment, mostly a Linhof 679 and a Phase One digital back, but I have a Canon 5DS, and various lenses for shooting personal work and portraiture, for landscape work, I use a Wista 5×4 field camera, with either 120mm or 150mm lens. For lighting, I use broncolor for fast moving stuff, and profoto or tungsten lighting for everything else.



In collaboration with Sean Freeman/THERE IS

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