Forged from rock and steel in the welsh valleys, photographer Ian Munro brings to photography a determination and dedication to keep inspiring viewers with his conceptual storytelling . His images blur the lines of surrealism and humour. Frozen in time, with shades of Georges Méliès, and mad genius, he creates large sets, sometimes building them from scratch for his models to act in.
Ian’s images are full of nuance and character, in an age when images are treated like fast food, here we have an artist whose works we need to digest slowly. To linger on the details and fully appreciate the hard work and craftsmanship.
So sit down, grab a glass of your favourite vino and lets digress. Ladies and gentleman I give you the work of Ian Munro.
DIYP: Tell us a little of how you got into photography, and who your influences are. IM: I worked with a guy who had years of experience in photography and he would show me prints of his work which, was mostly macro and landscape. This got me interested especially because I was due to go to Nepal trekking and really considered a DSLR. He helped me decide and I set about thinking I could take fantastic images immediately. After I returned from Nepal with “average” at best images I realised that this was going to be a challenge. That was 8 years ago now, and I am still learning, and making a lot of mistakes.
DIYP: Your images sometimes feature large sets and elaborate setups. how long does it take to create an image from start to finish? IM: As time has moved on I have tried also to move on with the set up and complexity of my work. This has resulted in the construction of sets that take quite a lot of time and money. Once I have a concept I set about sourcing the models and props to make it happen. Then I will need a venue or studio to set up the shoot. Location shots would ideally be a character building where I do not have to do a lot in terms of set up. If it’s a location I can secure then I have time to start building and return every day for a few hours. Ultimately it is dependent on the story of the image and what’s needed. For example, the Journeyman series has been location based and natural light so it’s a case of getting changed into my outfit and setting my camera for the shot. Other shots such as “Human Vivisection” and “Winning is everything” took 3 months from initial concept to shoot day.
DIYP: How important is Photoshop in your workflow. Does your work rely on it or could you still create your images without it. IM: I rely a lot on Photoshop and other software to help create a mood or feeling. The basics like colour adjustments, sharpening etc. have to be done. The fact is that I hope my work tells enough of a story that it’s not based on software alone. To think that editing software is not needed is a little optimistic and it can actually be used to enhance pictures, especially when shooting RAW. I create my images with imagination and I try to get as much done in camera, using props and essential set building.
DIYP: You are the founder of welsh camera club Inn focus. Tell us a little bit about them, and why you decided to start up a camera club. IM: I am the founder of a Welsh based photography group called Inn Focus. It’s called “Inn” focus because we meet in a pub usually and not a lot of photography gets done! Anyway, we are a group of friends that put our work out there on the club circuit. It’s a great way of keeping print alive with various competitions and quite often you get to meet other great photographers. I decide to form the club after I thought that the current club scene needed a little boost with a fresh approach. I think there is a slight stigma at the notion that “Camera Clubs” are a little old fashioned. By this time I had been about a couple of years and made great friends with other photographers, so we decided to give it a go. We have been quite successful by winning numerous competitions here in the UK and overseas.
DIYP: What are your thoughts on the UK club scene as a whole? IM: I think camera clubs are great and a great way to start out on your photography adventure. You can pick up some valuable tips from seasoned photographers who spend time with you and can help you develop. That said I believe they can also stifle potential talent due to the nature of how things are judged by people who have not quite embraced the digital era shall we say. I think that it would be great to see some new younger personnel at the helm who are a little more up to speed with the current global photography scene. The club scene is in need of younger more innovative people to remove the current opinions that young photographers have. The majority of talent I see are from new photographers coming through online and not at clubs. This way it’s all digital and online so prints don’t get a fair chance.
DIYP: You are also currently an ambassador for lighting company Phottix, how did this come about and what does the position entail. IM: Ah yes, Phottix have been great giving me the opportunity to use some fantastic equipment. It all came about when good friend Tony Dudley had showcased my work to the bosses at Phottix and they were really impressed so things moved from there really. The fact that I was using natural light on location became a perfect avenue to explore with portable lighting. Phottix have this covered with some great lights in the Indra range. I have been working with them and demonstrating them at various shows and events. It was a great experience to actually give a demo at The Photography Show at the NEC Birmingham this year. I can now take my images to the next level and also provide people with workshops and tuition regarding photography. Basically I am in a great position to help provide the platform for people to learn with them.
DIYP: You have very recently opened up your own studio in Wales, will you be hosting workshops there, and is it open to other photographers? IM: Recently I have opened Skint Creative which is a 700sq ft space fully equipped with the latest kit. We can provide group or one to one learning experiences for beginner right through to advanced. You can also rent the space per hour, half day or day. It’s flexible with opening times and can even hold vehicles for photography. It’s got off to a flying start since I don’t see another of its kind in South Wales. So if you have any free time and you’d fancy hooking up for a shoot then get in touch. I have wanted my own space for a few years now especially considering the sets I can now build in my own time. My Inn Focus mate Gerwyn Williams is also a partner in the venture.
DIYP: Where would you like to see yourself in 10 years time. IM: In 10yrs time I would like to see myself still teaching and helping others and also with a successful studio. The most important thing on the photography side of things is to simply “still be in love with it” and to make sure I am smiling. I never want to be pigeon holed into taking pictures of something that I feel nothing towards, even for money. That would stifle my own creativity and desire to create new personal work. Maybe like most artists I will be famous and rich when I am dead. For now though I will take “happy”
