Capturing a moment in time

Welcome to the third in this sometime-series on different elements of good communication. My world, and that of my clients, would be nothing without a standout image. It's true, a picture is worth a thousand words. I've asked the brilliant photographer and all-round fabulous Mark Cocksedge to tell us a bit more about his photography. I am lucky to have worked extensively with Mark, he is a go-to for so many projects I'm fortunate to work on. So thank you, Mark, for taking the time out of your packed schedule to chat here.

Q. Mark, can you tell us a little about you please? I’m a London-based photographer who works closely with the design industry,?specialising in portraiture, interiors, architecture and editorial photography. I’ve been told that I’m known for my honest, down to earth approach to photography, and ability to create a personal connection between subject and camera. To date, I’ve shot a host of up-and-coming designers as well as some of the biggest names in the business including John Pawson, Morag Myerscough, David Adjaye, Ron Arad, Mary Duggan, Thomas Heatherwick and the late Christo.

I had the absolute and nerve-racking pleasure of photographing Sir David Attenborough for the cover of Norway’s Aftenposten, documented some of the leading design festivals around the world and been commissioned by clients including House of Hackney, COS, Lego, Wallpaper* , 施华洛世奇 and Rolls-Royce . My recent series, Two Metres Apart, is a visual record of the design industry on pause, shot on designers’ and architects’ doorsteps during the height of the lockdown.

I've spent the past 15 years developing my style. I moved to east London in 2007 to set up my own studio, and focus on work within the design industry – including collaborating with my brother, designer Paul Cocksedge, whose work I’ve been documenting for well over 15 years. I undertake commissions in the UK and worldwide and work regularly with design agencies and galleries, including LUCHFORD , Camron , the brilliant Hannah Cox MCIPR , Carpenters Workshop Gallery and Friedman Benda .

Q. Why is photography important??I think the first point that comes to mind is that the images taken by photographers outlive us all, which simply means it acts as a record of our time. It becomes research and a pastime for people to see, learn and discuss.

Photography is not just about taking the picture. There are various stages that are just as important to get right before and after: Location, Lighting, Communication, Post Production, Colour Grading and so on. Something I noticed recently whilst looking through my archive is I’ve taken portraits of many people in the design industry more than once. A lovely wave of emotion came over me as it is suddenly not just a single job, but being a part of something that later will become history.

A perfect example is a project I undertook during the first year of the Covid-19 Pandemic. Entitled Two Metres Apart, it’s a visual record of the UK's creative industry on pause, this series of?socially-distanced doorstep portraits are a glimpse into the lives of designers, artists, editors and more, revealing what or who helped them cope with life in lockdown.?I wanted to capture a moment in time within the design industry I love, that we can all look back on.

Q. How is your business changing? For me personally, with the act of photo taking, I haven’t seen much change. It’s more the delivery of the images that’s the change. Images are needed almost instantly. Given the fast pace of deliverables, once they are online, those are the images that will be archived and remembered … so I feel it’s best all round if you slow down ever so slightly, and make sure the images look their best.

Like any medium that requires technology to be the middle component, you’re always going to have to adapt to keep up with the demands of the industry and your clients. However, it doesn’t matter if you use the best camera or lighting equipment on the market, it doesn’t mean you take better photos. It’s the journey you go on in creating the idea, the research, the collaboration in fulfilling the brief.

I often hear photography is saturated because of social media and the introduction, over the years, of smart phones. There is some truth in this in the general sense, but I don’t believe it’s going to stop picture editors, marketing departments, agencies and art buyers commissioning photographers who have the technical knowledge of how to fulfil a brief.?Giving your clients the trust that you are in safe hands and simply being a nice person are things I try to do. Then it’s up to me to ultimately deliver memorable images.

Q. How does the commissioning process work? It usually starts with an email. I’m a little old-school though, I do prefer a phone call as you get a much clearer sense of the project. However, I understand that an email is way easier as a first point of call. The introduction of Zoom or Teams calls have proven very useful once a commission has been agreed. I find it a much more focussed session to check in with projects than a series of emails that get lost in a thread. Once the brief has been shared, and costs agreed, it usually comes to down aligning diaries to book the shoot in. What’s lovely about the industry is that when you’ve worked with the same clients for multiple years, you both become so aligned in what is needed that less communication is needed, which I find fascinating. Again, trust.?

Q. What's next for you? The London Design Festival is around the corner and I have some nice shoots happening, one being at sketch London . I’ve recently finished a few days documenting a short film called ‘Call Me Back’, that looks at the subtlety of memory and grief with a heartfelt exploration of a bereaved older woman. Directed by a very good friend and talented director Tom Andrews , I spent my time creating the films poster which features the effortlessly brilliant Lindsay Duncan, and documented behind the scenes. Now comes the lovely process of going through the images and postproduction.

I’ve also started a magazine with a very good friend and top graphic designer Gresty. I do all the photography and Gresty takes care of the layouts, type and graphics. Our roles do cross over when the print deadline closes in and we both have strong opinions of what should go where. I can’t speak for Gresty, but it’s a dance routine that I’m enjoying as the final outcome is solely ours.

Entitled ‘Ryezine’, it’s a free magazine that celebrates present-day people, places, and pastimes in Rye, the neighbouring?towns and further afield within the South East. Started in the height of lockdown, the magazine is a great resource that encourages community and collaboration. We have 5 issues out and we go to print on issue 6 shortly. To date, we have featured over 30 articles, including Graphic Artist Anthony Burrill, We met Ben Walgate, the man behind Tillinghams natural wine; Set amongst 70 acres of rolling hills, Carolyn Denham, who created Merchant & Mills and brought style to the world of sewing, Baroness Hallett of Rye who’s dynamic and successful curriculum vitae is truly inspiring.?

Q. Lastly, what words of wisdom you can share??I’ve said it previously, but here it is again. Being a nice person is the key. There will always be the pressure to deliver, but I’m not saving lives, I’m taking photos - enjoy it, be opened minded, do what you do well and the projects will follow.

*****

Thank you Mark for sharing this insight. I can attest to the fact that you are indeed an extremely nice human being, a delight to work alongside, and always fit straight into any brief and client situation, quickly building the trust that is so important, and that you can see emanates from your photographs. Check out the website, below, for more beautiful and inspiring work.

1. All photography in this article is copyright Mark Cocksedge. 1. Mark Cocksedge 2. David Attenborough 3. Paul Cocksedge 4. Two Metres Apart 5. Cos x Mamou-Mani

#photography #design #designers #communication #PR