Rory Langdon-Down: Photography as Fascination
Photographer Rory Langdon-Down beautifully captured these moments at home for Glassette to celebrate his exclusive collection of prints. In our interview, Rory delves into his unique approach to photography, sharing insights into his deep appreciation for the art of observation. He also discusses his philosophy on photography and why, in a world overflowing with images, he believes in the power of taking fewer photos to truly connect with the essence of each moment. Read on to discover Rory's thoughtful perspective and the stories behind his evocative images.
How would you describe your photography style?
My work is centred on human-lead storytelling with a warmth and authentic nature that you can connect with.
Did you find yourself drawn to observing people and moments in a unique way when you were younger? How has that influenced your photography today?
I had a lot of interests as a child - sports, music, anything outdoors - and I think this sparked my fascination with interesting people and communities with unique hobbies. I'm still interested in people and particularly anyone with unusual interests or things they're passionate about.
Can you share the story behind one of your favourite photographs? What was the atmosphere like, and what was running through your mind as you captured it?
Favourites are always tricky as they quickly change for me, but one that stands out is Wild Swim. It was taken at a spot I like to go swimming at in Kent near where I grew up and on that particular day, I knew it'd be busy as it was so warm and I had this picture in my head even before I got there. People jump from the small bridge and it's often a scene of nerves as people pluck up the courage to jump or calmly just sit and watch from the wall. It's really fulfilling when you're able to take the photograph you've imagined for a while. I shot two rolls of film - 20 photos on medium format - and one of them was this one. I can't wait to go back and shoot some more.
How do you prepare yourself, mentally or creatively, before a shoot? Do you have any rituals?
On small shoots or things well within my comfort zone, I just make sure that all my kit is prepped and my references for the job dialled - this often means looking at photo books or other people's work online as well as stuff I've shot before to inspire me and remind me I can do it. On a big shoot, the most important thing is to be fully prepared at least a full day before the shoot with all my kit and even what I'm going to wear planned so I can be relaxed. I go to bed very early the night before and give myself tons of time in the morning to eat breakfast and travel so I'm relaxed when I turn up on set. I'll listen to music or the radio on the way in and play music whilst we shoot if we aren't recording sound and it fits with what we're doing.
What has been one of the most challenging but rewarding moments you've captured, and why did it stand out to you?
The most rewarding thing I've ever shot was a series of portraits of people from the Born To Perform Dance School with Down's Syndrome. It wasn't challenging at all, and in fact the warm and friendly environment made it the most enjoyable shoot I've ever done. I photographed eight great people for the project for World Down's Syndrome Day and made a life-long friend in Ellie-Bea who I went on to make a documentary, 'Six For Gold' with as she trained for and competed at the Special Olympics in Berlin last year.
How do you approach capturing a candid moment versus a more composed, deliberate shot? Do you have a preference?
I tend to see all my work as very deliberate, but sometimes things come together more naturally than others. For candid photography, I see a scene in front of me, compose my frame in the camera and then wait for something to happen before firing the shutter. Sometimes I need to be quick if people are in the right place already and other times I will watch for something to happen - this could be as small as turning a page in a book or someone looking in the right direction. I shoot on a medium format camera that requires patience and you can't shoot quickly on it, so you need to wait and wait to fire the shutter at the right time.
For more composed work such as portraiture, I think about location, person and pose. What does the background look like? Is it relevant to the person I'm making a picture of? Who am I making a portrait of and what's the reason? What pose makes them feel comfortable or helps convey some story or emotion?
In a world where everyone is taking photos, what do you think sets your work apart in capturing the true essence of a moment?
A quote I have on repeat is 'a photograph is not made in the camera, it's made either side of it' and I strongly believe that my connection to the people or understanding of the environment around me is what makes my work unique. The camera is secondary to that and facilitates capturing what I see and feel.
When you’re making selects from the many photographs you’ve chosen, how you decide on the final images, what are you looking for?
Making selects is really fun, particularly when you shoot on film as you get the excitement of reliving what you captured days before. I get an instantaneous feeling when I shoot of which photos are going to be the best as I press the shutter so I'm always looking forward to seeing these first, but as I go through all the photos I will get a real gut reaction to which are great photographs. This is often due to light, action or expression. I recently shot a photo of my godson playing in a water fountain at the V&A and as I shot it, I thought 'that's going to be good' and then it came out perfectly with light and action combining joyfully.
If someone wanted to start focusing on capturing people and emotions in their photography, what advice would you give them to get started?
Get close. Get close with your camera but be in that moment, engaging with the subject directly and honestly. If it's playing at the beach, then make the photographs fun and engage with your subjects as they run and splash in the sea; and if it's a more serious setting, then remember photography has an important place there to document what's happening there too. Match the pace of the environment around you and the photos will feel natural. Be patient and don't overshoot - sometimes shooting just a handful of photos will keep you organically in that moment and make those images stronger than if you shoot continuously.
QUICK FIRE
Favourite portrait you’ve ever captured?
So difficult...! This one of Ellie-Bea that was a winner of Portrait of Britain
Best time of day for capturing photos?
Early morning for light and the hottest part of a very hot day for people.
Favourite city for people watching and capturing photographs?
Miami - went there recently for a shoot and there's people watching like no other place I've been. Also, a very easy place to take a photograph as everyone there likes to be seen.
Photographer that most inspires you?
Joel Meyorwitz - he's taken some of my all time favourite photographs and his book 'How I Make Photographs' helps me when I'm stuck.
Favourite book about photography?
Permissions by Emma Hardy which is my favourite photo book
Best camera for beginner photographers?
I love Fujifilm for digital cameras that replicate a filmic feel - the X100 series is a great entry point.
Editing tools for beginner photographers?
Adobe Lightroom
Most influential photographer or artist in your work?
William Eggleston
Follow Rory @rorylangdondown
