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Interview #411: Harry Rose

UK-based Harry Rose, editor of Darwin Magazine, takes introspective landscape photographs. We talk about the relevance of self-publishing and the importance of print as a medium. q: Give a short introduction of yourself: a: I take photographs, write about photography and spend most of my time looking at peoples work and going to exhibitions. I read up on a lot of LGBT rights and news, I find that really interesting. I read an article the other day about an American republican who claimed that Game of Thrones encourages incest amongst the gay community. I’m waiting for someone to do a project on the crazy and blind hysteria that some people have towards the LGBT community. It’s all a little backwards at times. Maybe that’s the next project I should focus on.

q: In your self-published book "In the Company of an Invisible Man", you explore "notions of loss, memory and human relationships within landscape photography." Do you find that photography can be therapeutic? a: Absolutely. I came to terms with my father’s death through making the project and book. It helped me focus my ideas and emotions. I’d sit for hours on my own on the side of the mountain where my fathers ashes were spread (North Wales, Snowdonia National Park), just being surrounded by silence was enough for me to pick up my camera and keep going. Photography can be really useful for articulating things we don’t understand on the surface. I was very open and honest about the work to friends and peers. If you decide to do a body of work that is extremely personal and difficult, you’ve got to be open to people’s opinions and ideas. It’s a little bit like bearing your soul. I’m a very positive and upbeat person, so I invested all of that energy into the project. I’ve seen it happen a few times whilst being at university, something tragic would happen to a friend and they’d respond by picking up their camera. It’s not for everyone, but it certainly helps if you allow it to. In the company of an Invisible Man will always be an on going project for me, I’m still growing and learning about myself and my father, it may take different forms but its still something I’m dealing with.

q: You are also the editor of Darwin Magazine, which focuses on exciting and emerging photographers. What was the motivation or inspiration behind starting the publication? a: The idea came up over a beer one late night in Cardiff. I was with my friend and co editor of Darwin Magazine, Ryan Grimley. We were both still at University in South Wales at the time and noticed there were very few outlets for un established photographers. Getting your work out there once you’ve graduated can be difficult and frustrating. There’s a lot of brilliant young people doing creative and imaginative things with their practice, just we don’t get to see it as often as we should. Both of us are really interested in photo editing and collaborating with other photographers. We had the same intentions and drive, which takes a weight off your back when you’ve got someone by your side who is equally as passionate as you are. The magazine also allows us to feature work from photographers we both admire, from Helen Sear, Ewen Spencer, Simen Johan and Ron Jude, amongst many others. q: What are the strengths and weaknesses of self-publishing printed publications to you, especially with the proliferation and conveniences of online content? Why do you feel drawn to self-publishing? a: Online publications are great don’t get me wrong. Especially fashion photography publications, they work hand in hand really well. But I think you loose something behind the glaring computer screen. I guess it’s a bit like seeing a photographers work on the Internet, then seeing it in a gallery space and having a different experience entirely. Their two different things and serve different purposes. Being able to hold a photo journal or magazine and have a one on one interaction with someone’s work, you can’t really beat that. The obvious strength behind online publications is that it’s free. I think in these times of uncertainty for the arts, especially in the UK, its understandable why so many publications stick to being online. It’s a lot more affordable. There is something I still find really alien about flicking through a digital book, our relationships with printed matter should be an intimate and personal experience, be it a magazine or photo book. Ryan and I have met some really talented and inspired people through Darwin, be it curators, free lancers, studio assistants, owners of other publications. The community surrounding self-published material is a positive and vibrant one. Also, what’s more exciting than having a publication with unpublished work by interesting photographers? Volume 5 of Darwin Magazine was the first to feature the project ‘The River’ by Sian Davey.

q: What's your take on the contemporary scene of publishing and where do you see Darwin Magazine standing? a: The scene of publishing photo books, magazines and collective projects in print is booming. It’s at a height. But what goes up will eventually come back down. Its very trendy, sometimes it pays off, sometimes it doesn’t. You only have to click over to Self Publish Be Happy to see how popular publishing is right now. Photobook weekend events are cropping up; people are addressing printed work the right way I feel. A few months ago Bristol in the UK held a weekend of talks from writers and photographers from Colin Pantall to Martin Parr about photo books and publishing, so its clear that the increase in book printed work is getting noticed and talked about. As to where Darwin Magazine sits, I guess that’s up for the audience to decide. People who buy the magazine are passionate and invest time into looking at other people’s work, which is an encouraging and humbling. q: Tell us more about the upcoming issue: a: We had an open call for work, which was overwhelming. The amount of submissions and level of skill and engagement was outstanding. Volume 6 focuses its attention on Europe, and photographers who we feel are creating interesting and unique projects. The volume explores certain cultures, social issues and conceptual bodies of work. It’s still in the works, but we’re really excited for everyone to see who’s involved.