As you will read Mr.
MacLeod is thankful and grateful to Instagram for those that the platform
afforded him of meeting and working with…. Me being one of them except that I can
never sing the praises of Facebook loud enough as it surely broadened my web of
creatives… despite it having fallen out of favor in recent times.
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Craig, when I approached
him some time ago, was open and generous and more than willing to accommodate
my wishes for a non-paying project that I was working on for a swimwear brand….
For me, this speaks volumes about a person’s being as well as his
professionalism and drive in a world of bloated egos and over rated creatives.
Yes, he came through with flying colors and certainly has come a long way since
that time.
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So, now you and, well,
me too, get to know a lot more about the man who hold s the camera and this
interview is long overdue so without further ado ... meet Craig MacLeod in his
own words:
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Jeffrey Felner: Let’s first speak about how you
started and why?
Craig MacLeod: I moved to Southern California in
July, 2014. The move saw my profession change, from working as a commercial
business lawyer to becoming a self-trained freelance photographer. I’ve
always had a passion for photography and had been using it as a way to stay
creative whilst still in a legal career. 2014 was a now or never moment to
start as a photographer!
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JF: How do you go about selecting your
models and how does it affect your work if you’re not given your choice and
why?
CML: I shoot mainly creative people rather
than people who are professional models, e.g. actors, musicians and dancers.
Often these people approach me or I may approach someone if I find them
interesting.
When working with
professional models, they are cast to play a role within my conceived notion of
storytelling or that of the creative director, so the relationship is similar
to that I imagine of a director of an actor. It usually doesn’t affect my work
if I’m not given a choice of model. However, if I think a model doesn’t have
the right attitude for a shoot, I will make sure I am heard!
With non-professional
models such as creatives they are often concerned with how they look and how
they are perceived; It is a very intuitive approach on each shoot. A good
or even a great shoot requires clear communication and absolute trust between
everyone involved.
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JF: If you could invite any 5 people to
dinner who would they be and why?
CML: I would pick 5 of my favourite
photographers and make it a fantasy dinner as some are no longer with us:
Sarah Moon - her
photography mesmerizes me, so gorgeous and dreamy; Dennis Stock so he could
tell me everything about James Dean; Duane Michals, who I met once and is
brilliantly funny and indiscreet; Herb Ritts because he is one of my
inspirations as mainly self-taught as well; and Andy Warhol so he could take a polaroid
of us all.
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JF: Okay lets speak of the internet;
Instagram models, how has it influenced your work and would you say
it is for the better or has it become a hindrance in that everybody who ever
stood in front of a camera thinks they are a model and everyone with a camera
thinks they are a photographer?
CML: Instagram has been instrumental in
helping me start out as photographer. Moving from Scotland to the US without
knowing anyone it has been a great tool for me to meet other creatives - I feel
I’m very much at the start of my career as a photographer and have nothing but
gratitude for the people I’ve met via Instagram who have collaborated with
me.
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JF: Do you have any mentors or idols who
have influenced or influence your work and why? Whose work do you admire most
and why?
CML: Mark DePaola; He’s shot numerous
Vogue covers and tends to shoot wide open lens, existing light, no flash -
which is how I like to shoot. He gave me a reportage opportunity of behind the
scenes at New York Fashion Week. Early references are critical to me - whilst
studying the History of Photography at the University of California, San Diego
I became particularly drawn to the works of Julia Margaret Cameron, Edward
Weston, Paul Strand, Irving Penn and Richard Avedon. Later references are
important to me too - such as Herb Ritts, Bruce Weber, and Peter Lindberg. I’m
a fan of international cinema - particularly the 50s, 60s and 70s. That often
influences my work. Also, having grown up in Scotland in the late 80s, I
was - and remain - obsessed with style magazines of that period such as The
Face, Arena, Blitz and I.D.
