Russell Monk

Prior to Russell Monk’s recent job in Hong Kong, he was in Tibet and China:

I asked Russell what brought him to Tibet.

I have a friend who has been very involved with Tibet over the last 10 years – and leads cultural and art tours there (she is a botanical illustrator amongst other things). This year she had a “photo tour” scheduled but her PRO had to drop out at last minute so she asked me. Really – I was more of a photo “baby sitter” – just there to guide people when needed. And – of course I had free rein and time to shoot my own images.

What are the conditions like shooting in those areas? Just curious about your perspective as a seasoned travel shooter- any particular challenges on this trip?

The conditions where fine for shooting. Actually we could not get into the areas where we had intended to stay as the Chinese Government had been throwing foreigners out of Tibet for a few months (they have since relaxed things and the country is now by and large open again) – so we were restricted to the very eastern part of Tibet.

I can’t say that the “living” conditions were bad – we were supposed to be living out in huge hand made tents – but stayed in small hotels and hostels. Nothing luxurious – the usual, not the greatest bathrooms and the water was off at times – but really nothing that much of the world lives with on a day to day basis.

So you were in a teaching role- what specific slant do you bring to your lessons or teaching in general- is it about vision or technique?

I have never taken a photo workshop or led one before – although I have given a number of “talks” and lectures. It was a very loose workshop where most of the people on the tour were barely even keen amateurs. However, to the few who had more than just a passing interest in learning more (and there were at least a couple) – I tried to just help them get a little ‘closer” to their subjects (when they were shooting people) and to use shorter lenses – and not have the classic long lens look that to my mind flattens things out to much and sucks the character out of people – to “engage: with people, to stop and try to talk to them and if they really wanted to take their portraits – to tell them “why” it is that they want to take (make) their photo – ie -tell them that you think they look “unique”.”amazing”, “interesting” etc. Not to just either take a hurried long lens pic – and then when the subject looks up – look sheepish, mumble an apology and hurry off…

That kind of thing for starters…

Technique versus vision – that is all a whole new ballgame since digital cameras. Even so it’s all a bit easier now technically – I still tried to stress knowing the technique so that it becomes second nature and one doesn’t even have to think about it – one pretty much knows ahead of time HOW it will look. “Transcend technique!!”

As for “vision” – well it’s about what you choose to photograph as much as “How” you choose. And – what you don’t photograph (and show) is also important.

Thanks Russell!

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Russell Monk’s Mexican Portrait series has been recognized by PDN magazine and garnered the top prize in the Editorial/Celebrity division of their annual Faces Competition. Here’s the spread from the the August issue:

The copy reads:

These are two portraits from a series of the people I’ve met in my little part of Mexico. They were all captured in my daylight studio.

Right: Pedro is the caretaker and the gardener at the local playground. He is also a singer and sometimes wanders the streets and restaurants plying his trade. He had polio as a child and has an extreme limp. He is a lovely man.

We’ve been fans of this work for a long time but it’s certainly nice to see it recognized by PDN. Congratulations Russell!

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