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"Consider God’s handiwork; who can straighten what He hath made crooked?" - Ecclesiastes 7:13

(via andreii-tarkovsky)


Interview#53Gary Benson

How old are you?

Where are you from?
The UK. I was born in Lancashire, I lived in Bath for a long time, and now I live in Shropshire.

What kind of photographic equipment do you use?
Almost always 35mm, with HP5 which I push to 1000ASA. My main camera is a Leica M6 TTL with a 35mm lens, but I also have a Pentax MX with a bunch of lenses that I use for things the Leica can’t do, and an Olympus µ[mju:]-II for extreme weather or for when I just want a camera in my pocket.

What do you do when you are not shooting?
All sorts. I have a full-time job to pay the bills, and also a very demanding one year old kid and a tumbledown house in the middle of nowhere that needs everything doing to it. Somewhere in there I have to make time to process film and print pictures.

What was the first photograph you were proud of?
No idea! Probably one of the first ones I took, but who knows where they are now. I think I was 9.

How much preparation is there behind your photographs?
Sometimes a little, but usually none at all. I’m more a photograph finder than a photograph maker. Occasionally I will construct a picture and it will work, but 9 times out of 10 the made pictures fail.

Have you ever done sacrifices or compromises as a photographer?
I don’t really know what this means, so I’ll say no. I try to move with what’s happening.

What is your safe place?
I don’t know I have one.

Do you have any obsessions?

Is there an artist you’ll gladly collaborate with or that you regard with esteem?
I’m open for collaboration but I’ve never tried it so I don’t know how it would be.

▶Would you define your photography as “fast”?
I try to be fast. All the time I spend taking the picture, the goodness leaks away. If I’m fiddling about with the camera or trying to “get the angle” the picture is coming apart. That’s why I mainly stick to one camera, one lens, one film. I want there to be no thought. Once the picture is taken however I’m as slow as it gets. Films sit around for months until I get around to processing them, then negs sit around until I contact print them, contact sheets sit around until I make workprints, workprints drift on and off walls and between friends until I print them big, and big prints sit in boxes until I decide what to do with them. Most things that get online are at least a year old, but it’s good—every step in the process is an opportunity to lose the weaker pictures. Digital’s poison for me, I’m publishing things while they’re still fresh in my mind and I make all the wrong choices.

[If you want to see more, find him on]


Federico Fellini and Giulietta Masina in 1957

mark peckmezian


Rudolf Bonvie - Dialog, 1973

(via artspotting)