Wanda Martin: Choose Self-Portraits for Full Control

Wanda Martin: 0:04

When those pictures were hanging on a wall, all of a sudden I don't look at those pictures as those are pictures of me. I'm just looking at them as images. It doesn't even feel like it's me on those photos anymore.

Angela Nicholson: 0:18

Welcome to the SheClicks Women in Photography Podcast. I'm Angela Nicholson, and I'm the founder of SheClicks, which is a community for female photographers. In these podcasts, I talked with women in the photographic industry to hear about their experiences, what drives them, and how they got to where they are now. In this episode, I'm speaking with Wanda Martin, a photographer, director, visual artist and Canon Ambassador based in London. Hi Wanda, thank you so much for joining me today on the SheClicks Women in Photography Podcast.

Wanda Martin: 0:56

Thank you for having me.

Angela Nicholson: 0:58

I wonder if we could start right back at the beginning. What was it that first made you want to pick up a camera?

Wanda Martin: 1:04

So originally, I'm from the countryside of Hungary. And my father is actually a photographer. And he was the one who taught me the basics. He was the one who bought me my first camera when I was about 14, 15. And it's funny because it was a love at first sight kind of thing. So I immediately fell in love with the medium of photography. And even though my father was the one who brought me to that specific camera, which was actually a Canon EOS 20D, I remember up until today, but he didn't want me to become a professional photographer myself, because obviously, he was working in this field for decades, and obviously saw the ups and downs of this industry. So he just wanted me to become to do something what normal and financially stable. He wanted me to become a lawyer engineer or something like that. And nothing to do with the creative industry. But I guess it was it was already too late.

Angela Nicholson: 2:01

Yes, that is funny. Yeah. 'Be a lawyer. Don't be like me.'

Wanda Martin: 2:07

Oh, well.

Angela Nicholson: 2:09

So you started, you started with digital photography?

Wanda Martin: 2:14

Yes, it was a digital camera. But at the same time, he had a darkroom as well. He had his own studio and darkroom. And he did teach me like shooting on black and white film and processing black and white field. And, you know, like, manual printing as well. But yeah, I have to be honest, my main thing is digital photography, obviously, every now and then when it comes to an editorial or personal project, I try to mix the two. So I have medium format cameras as well and several 35 millimetre and other cameras. But yeah, when it comes to commercial projects, I do shoot digital.

Angela Nicholson: 2:51

Hmm. I started shooting film, and then I switched to digital. And I have to say, I find digital, much more relaxing, actually and much less stressful because you're not spending hours in a dark room and worrying about somebody opening the door and all of these things. And you can just you can process an image as you want go out, have a cup of tea come back, it's just a lot more relaxed, isn't it?

Wanda Martin: 3:11

Exactly. And you know, it did happen to me that film got, I don't know, damage somehow or disappeared. And it is very stressful, especially when it comes to a paid money job or like a commercial job. So what I usually do, I always shoot digital as far as as well as peon. So whenever I feel, Oh, I've got the shot on digital, and then I switched to analogue. And then I tried to repeat those shots on film as well, just to avoid the stress.

Angela Nicholson: 3:40

Yeah, but you've got that leap of faith, you know, you put all the same settings in and it will still look a little bit different, won't it on film?

Wanda Martin: 3:46

Yeah, exactly. I mean, I still, I mean, obviously I love on a look, because it's very magical in a way you don't you never exactly know what you're gonna get, especially when it comes to Polaroid because sometimes they do should Polaroid as well. It's very metrical.

Angela Nicholson: 4:02

Yeah. Have you ever done any emotion lifts to do Polaroids?

Wanda Martin: 4:06

No, not yet. It's on my list. Have you?

Angela Nicholson: 4:11

Well, I have and if you if you like the randomness of photography, it doesn't get much more random than that. Because one minute, you know, they'll stay the same size and look great. And the next minute, they just kind of seem to grow and float. And they look great as well. But it's just you know, if you're trying to get a consistent look, that can be quite tricky, but I recommend it. It's good fun.

Wanda Martin: 4:30

Yeah, experimental. Yeah, it sounds very exciting.

Angela Nicholson: 4:33

When you first started out in photography, what were your key subjects that you'd like to photograph at that point? You said you were about 14?

Wanda Martin: 4:39

Actually now, if someone knows me, they know me as a fashion and portrait photographer. And I do work with a lot of musicians and actors as well. And even then I started out it was always obvious for me that I was interested in people and portraiture, but I was a very shy teenager at the time and I didn't know how to approach people to ask them to photograph to model for me. So I started out with self portraits. This is how I got familiar with the medium. This is how I learned a lot about the technical aspects of photography, and also about like lighting, posing styling and makeup as well, because I literally did everything for myself on myself a while. It was the early days of social media. And I posted some of these images on MySpace and some of these platforms and, and the teenage girls from the from my hometown found me and approached me eventually, as we did take photos of the actually these girls from the countryside of Hungary, they were my first clients, basically. And then obviously, became more and more confident. And when I moved to Budapest to study, well film, first I studied film history, and theory, and then eventually fine art photography. Basically, I was already like doing more and more photography jobs first for students like me, fashion students at the University of fine arts. So I was shooting for fashion students, they're fine on lost their collections. And eventually, so I was growing a portfolio and building a portfolio. And then Hungarian magazine spine found me and then some ends as well. Oh, amazing. And I was about 23. Then I moved to London, with an Erasmus scholarship to study at the London College of Fashion, it was a fashion photography course. And it was only a few months, like, three, four months course. Well, trimester I got to spend here. And I went back to Budapest, and I realised like London is the place where I would like to be and still buy, try out myself. Because basically three, four months is nothing and at the time, I barely spoke English. So I, it was just the beginning. So I finished my like, schools over there graduated and eventually applied for master course at the London College of Fashion, fashion photography course. And basically 10 years ago, now, I moved to London and settled in London.

Angela Nicholson: 7:15

Wow, that's quite a tale. It sounds like photography was always going to be your thing, despite you know, your dad introduced you to photography, and then tried to sort of nudge you in a different direction. But you were quite definite, it was going to be photography, and people photography. Just a lot of photographers, Sydney, female photographers I've spoken to started out doing something else, and then found photography, but you're one of the select few who knew what she wants to do from the outset.

Wanda Martin: 7:42

That's interesting. Maybe it's based on down on the fact that I'm very, I'm quite sociable. And I'm interested in people. And I've always been interested in people. And so even if I'm not even interested in playing fashion photography, so for me, it's not really about taking pictures of a pretty girl in a beautiful dress in a beautiful surroundings. So I always liked the portraiture elements to it. And I like being an observer in a way and capture something golf, the person's personality, I'm taking pictures of, and it's definitely coming from that background that I'm always sociable, I love people, I like being surrounded by people, and I'm interested in them. And especially when it comes to taking pictures of musicians or actors or artists, it's very different from being a fashion photographer, in a way that men on official photographer, I'm directing everything. And sometimes I have to tell the model, what kind of story we are telling again, and what role she's gonna be, he's gonna be playing, while when I'm shooting a musician, like, um, that you have to try to capture something off of their personality and their character. And it's exciting. I mean, more and more. And this is what I started doing more and more these days. But I think this is where it's coming from.

Angela Nicholson: 9:04

Because you're so interested in people and their stories and capturing, you know, the emotions that they're experiencing, and that kind of thing. Do you sometimes find when you're at a fashion shoot that it's hard to concentrate on? Actually, you do need to capture the clothing that they're wearing, and you sometimes get pulled into their expressions and sort of distracted by the portraiture. And we have to remind yourself, actually, it's the clothes you're really supposed to be capturing.

Wanda Martin: 9:29

Yeah, that's so true, actually. Because I have one of my best friends. He's a fashion designer is when we work together all the time, basically. And he always reminds me all this sounds me like yeah, let's not get distracted by everything else. Let's focus on the creases and all that so obviously I had to train myself and and now obviously focusing on every little detail on the picture, but I still think a photo can still work if there are creases on the garment, but I don't think a photo can work. If you know something is off made the expression or what the model what a pose. So, yeah, I have to be honest, like the costing the foot to portrait itself. So the person I'm photographing is the most important element for me on a picture. And obviously, then the styling and the location and the hair and makeup. But yeah, casting is the most important thing for me.

Angela Nicholson: 10:23

Yeah. And of course, you know, getting the right person for the clothing makes a difference to the client as well. So you know, it is part of the conversation, isn't it?

Wanda Martin: 10:32

Exactly. And even when it's, it's a commercial job, I like taking control. And I like doing the casting as well, because it's just such an important element to the photo. It definitely helps a story unfold when you have an interesting character because I have this painterly element in my pictures. So I have this painterly aesthetic mixed together with modern elements and rock'n'roll attitude, that it definitely like photographing interesting faces that makes that an odd contrast to my images.

Angela Nicholson: 11:05

Do you still shoot many self portraits today? I know you said you said you started out shooting them.

Wanda Martin: 11:12

Not really. Well, in the last eight years. Well, after moving to London, I didn't really have time because I had to focus on first of all, building up a new portfolio and networking, meeting new people, and working more and more. And eventually, I just didn't have time for my personal projects anymore. Until the lockdown kicked in.

Angela Nicholson: 11:34

Yeah.

Wanda Martin: 11:36

And obviously, it was a very difficult time for all of us probably. But at the other hand, I finally had some time for my personal projects again. And at the time, actually, I was going through a breakup. So I was just on my own in London in this apartment. And I started reading some of my some of those books I used to read when I was a teenager romantic 19th century literature we're talking about like Wuthering Heights. And meanwhile, I started taking self portraits of myself. Recreating famous paintings for example, Ophelia, the Lady of Shalott and referencing a lot of female heroines from the history of art. And I ended up creating collages. That was sort of a reflection on the postmodern love and my my experiences, that actually was just it became something very important to me, and something very, like an art therapy, basically, during the pandemic. And then I had an exhibition based on that off of that in, in Budapest not too long ago. And this year, I'm planning to bring it to London as well. And eventually I would like to have a booklet because the whole thing looks like a visual diary. So I really, really want a book out of it.

Angela Nicholson: 12:47

Oh, great. Well, I look forward to the exhibition coming to the UK would definitely have to make sure we have a SheClicks meet up there to see it. That'll be fantastic.

Wanda Martin: 12:55

Yeah, I will keep you updated.

Angela Nicholson: 12:58

Thank you, thank you. I find it really interesting that if she clicks, the vast majority of people do not like having photos taken to themselves. And they don't like doing self portraits. Yet, there are a few people who really embrace it. I was talking to Brooke Shaden, not too long ago, and amazing conceptual photographer. Now, I'm not sure that she would classify images as self portraits. But she does feature in them a lot of the time you do self portraits, and you know, it's a completely different way of looking at things, isn't it? Because suddenly, you are in control of the expression, you are in control of where the models looking, you're not having to tell anybody you instinctively know what is the right thing? Is that part of the attraction?

Wanda Martin: 13:39

Yeah, basically, you are taking control over everything you are taking, first of all, as you said the expression but everything else as well. So as I said, I was here at home during lockdown, so there was no team attached. So basically, I was doing again, hair and makeup styling, the props as well. And it was in my usual apartment. So I was trying to look at everyday usual space of mine from a different angles, they just really embraced my creativity as well. It was such a challenge. And it was very exciting. And, you know, there was no pressure, there was no client standing behind my back. So basically, if I was not happy with the pictures, I could take 1000s and 1000s and 1000s of pictures without showing it to anybody. And finally, when I got happy with a certain image, then maybe I can post on social media or just executed or whatever later on. But if you don't if you're not happy with it, you don't have to show it to anyone. So I think that's that's a great point as well.

Angela Nicholson: 14:40

When you started working on that project, did you have an exhibition in mind? Or did it come to you partway through, you know, when you started to see, hey, these images are really working, you know, I could put an exhibition

Wanda Martin: 14:50

First I didn't have an exhibition in mind, but on.

Angela Nicholson: 14:51

It must have been really encouraging to have later on, like, months and months went by and I started becoming happiness Some of those images and some of those collages, so I ended up posting some of them on my Instagram account. And I got great feedback. And actually, I got a lot of good, like a lot of very interesting feedback from from girls and women who could relate to the theme and the subject of this project. So it was just a very, very interesting conversation became out of that discussion, and just made me think like, Yeah, I kind of want to show it to the, to the world. And it's interesting, because there's some nudity in, in this project as well. But again, just referencing famous paintings, and then I had this exhibition in Budapest, like, so many girls walked up to me like, oh, wow, you're so brave, that, you know, you are showing your pictures topless and excavated in front of hundreds and hundreds and hundreds of people. And it just, it just felt so interesting, because when those pictures were hanging on a wall, all of a sudden, I don't look at those pictures. And those are pictures of me, I'm just looking at them as images, it doesn't even feel like it's me on those photos anymore. those conversations with girls on Instagram or in person, you know, knowing that you were having some positive impact on them being that they were inspired by your strength or bravery, as they called it.

Wanda Martin: 16:45

Exactly. And even though right now, I'm not necessarily in that mindset right now, but I still feel I have a few images that I would really like to finish and finalised to add this to this to this project, and then have that book published. So yeah, it's very inspiring. And you know, I got a lot of interesting feedback that was also inspiring. So yeah, just to make me feel it's, it's an important subject to touch upon.

Angela Nicholson: 17:14

So have you started approaching publishers yet? Or is that a little way off?

Wanda Martin: 17:18

Not yet, but it's literally on my to do list. Oh, great. Okay, fantastic. Meanwhile, I'm also working on another exhibition, just like I'm multitasking, doing so many things at the same time, said, somebody, I'm working on another exhibition with my father at the moment and, and we gonna hopefully get a book based on that project as well. That exhibition is going to happen in Budapest end of May till September. And, and then hopefully, again, that as well, I'm going to bring to London. So there's a lot of things going on.

Angela Nicholson: 17:52

Yeah, wow, I love that you're collaborating with your dad. I mean, what, what's the subject matter? Is he shooting the same stuff as you or you're doing something different.

Wanda Martin: 18:01

So basically, he sort of retired by now, so he doesn't really shoot anymore. But he used to work as a photo journalist in the 70s 80s, socialist Hungary. And now he just started rediscovering his archive, and going through everything, all the negatives and scanning them back. And he just discovered a lot of pictures. And back then he didn't necessarily find great, great, but now maybe because of the nostalgic element as well. But were maybe just you know, from like, looking back, we found and he found a lot of amazing pictures. And which is an interesting part for me. He also found a lot of photos. When he photographed his nights out he was documenting his surroundings when he went out with his friends. So like basically parties and a lot of very interesting portraits as well. And every time when I go out, I have this little 35 millimetre camera in my hand, and I started documenting my nights out there, basically East London's nightlife in the last few years as well, mainly before the pandemic, but now as well bodied again, and we just started putting these pictures next next to each other, so they are all shot on 35 millimetre film, all black and white. And sometimes you cannot even tell the pictures apart, which one was shot in the 70s socialist countryside of Hungary or which one was shot 2017 London because of the hairstyles and, and some of the fashion as well that's coming back. And as to some hidden details that tells you whose pictures whose picture look you're looking at. For example, my dad has this photograph, I love that there's a DJ DJing and then the portrait of Lenin hanging behind him on a wall just like that will be his lead and that was a law or on some of my pictures. There's like a smartphone or a laptop in the corner. Yeah, but otherwise sometimes you can tell them apart so we just handling death as a as a joint project. And just the just juxtaposition between our images and the Fiat we felt it tells a lot about you know how the drive of the youth has been always the same just basically forgetting about reality for some stolen moments and, and kiss thing going out dancing, having fun, like, regardless any political regime.

Angela Nicholson: 20:18

Well that sounds great. Thank you. You know, it's an often overlooked area for photography as well you know, but it's so important and it's slightly sage, you know, you're looking at Your dad's work. And it brings back lots of memories. And it's you know, there's lots of nostalgia and then comparing it like you say, to modern day that's really interesting that they're so similar. I think that sounds like a great project.

Wanda Martin: 20:39

Yeah. Okay. I can't wait.

Angela Nicholson: 20:41

I bet I bet. When you put the images on the wall, are you planning to like, you know, this, this walls wonders, this is one disdads? Or are you going to mix them the pictures up. So people really have to study them to work out who shot what

Wanda Martin: 20:53

We are talking about this with the curator now. And origin and what I had in mind was just like, you know, like putting pairs up on the wall. But then we started thinking with the curator, probably, it's better if it just gonna be a mix of photos. And people, we have to make people guess. And obviously, maybe in the corner, there's gonna be a lot of tag in the corner of the room. So if you really want to figure out, then you can go up to the tag and see. But otherwise, when you're looking at the pictures, it's going to be a mix of things. So you have to really make like, you know, you have to use your brain to figure it out.

Angela Nicholson: 21:25

That sounds like a really fun exhibition. I hope that does come to London, that'd be great to see. Now I know that you are inspired by Renaissance portraiture, what is it about that genre that really inspires you? What, what draws you in? When you first started shooting fashion

Wanda Martin: 21:37

A very interesting question, because the whole thing started very early on. I love the Renaissance as well. But I'm especially obsessed with the pre raphaelites And obviously, we know pre raphaelites are inspired by early Renaissance paintings as well. And the subjects and and the themes and all the stories of of legends of Arthur and And so basically, I've been interested in this since I was 14, I don't even know I don't even remember by when it started photography, did you always use natural light then or had you how I became obsessed with these stories. But eventually I started like diving into the well the history of art and like the actual use use of colour and use of light as well. And I started using similar colours and similar lighting or light pictures as well. First it was made be because I didn't really at the time when I started, I didn't know how to how to use artificial lights or flashes or continuous light. So I was started to get to grips with flash and and other lighting always using natural light. And I'd like I like that you know having basically a big window on the side and having the beautiful natural light coming through the window exactly like in a painting. And eventually when I learned more and more about actually lighting my photos as well. Up until today I always try to emulate natural light and again that painterly feel to my images. sources? If I want to be honest up until today, I actually prefer using natural light when it's possible. Because I love shooting on location I love using love shooting and in nice Victorian or Georgian houses. And you know we'd like wallpaper coming off the wall or something with like a history to it. While obviously sometimes when there's a commercial job, I have to shoot in the studio as well. So sometimes I don't have the option. But even then I shoot in a studio trike I have the tendency to print out backdrops very painterly backdrop just to have like an extra element to the pictures not just a plain paper backdrop, I started out in natural light. And even though at the time for awhile, I was using a Canon EOS 5D Mark II, which was an amazing camera obviously true like using it for eight years. And now I'll I've been using a Canon EOS-1DX Mark III for a few years. And I also have an R5, and especially the 1DX Mark III allows me to shoot on, you know, like sometimes even 5,000 and ISO, it definitely helps with shooting like basically in natural light. And also at the time, when I started out I had only one lens, I think it was a 24-105, 4, yeah, F/4, which is obviously a great lens. But when it's really dark, like for example on a day like now, it's not it's not the best, but by now I have some 1.4 lenses and that obviously helps as well. Yeah, but also we've been talking about the painterly inspiration but also as I said, I studied history and theory of cinema as well. So for certain projects, I have cinematic inspiration as well, for example and now upset speed down. This film director from Hong Kong called Wong Kar-Wai and he has very specific lighting in his films, a lot of neon lights a lot of colours. So for like I literally just did fashion editorial that I was trying to have that kind of effects in my pictures and then obviously I have to use after use lights as well. I work with non light, usually so continuous lights.

Angela Nicholson: 25:25

If people wanted to see a film in that style what will name a couple of films that they should see?

Wanda Martin: 25:30

I think the most well, the most famous one is In

Angela Nicholson: 25:32

OK, right, I have to look that up. Now, the Mood for Love. And there's another one called Chungking Express, which I really like it's beautifully filmed, and you've mentioned a few times posting on social media, it's Fallen Angels, probably, if I have to name three for I will say fallen angels is the most appealing visually, it's like there's a lot of very wide angle distorted images and a lot of obviously had a significant impact on you and it helps you colours. It's very, it's very beautiful. reach an audience. But do you ever find it difficult to balance the need to put stuff on social media to sort of maintain that following and also do work which is paid? Do you find that a difficult balance to maintain or is it you're just so natural with it, now, it it just happened?

Wanda Martin: 26:23

By now it became pretty natural, although there was a time when I was really trying to force myself to post every single day. And just, you know, digging up my archive, when I didn't have a new project coming out, just digging up my archive, just for the sake of posting, I don't really do that anymore. So I tried to curate it more. And, you know, I might put post less, but I always post new new pictures. So an app probably I post, once per week, or sometimes twice a week, but also trying to use the Instagram story feature. So I always post a lot of behind the scenes content of me shooting on Instagram stories, and a lot of, well, basically a lot of videos of like what I'm doing, because I had to realise the people are interested who's behind the photography was behind those pictures. So I'm posting a lot about, like inspiration. I go to museums and galleries. So I post a lot about that. I go to see Ben's live. So I post about that as well. So I just really want

Angela Nicholson: 27:25

That's interesting. It's widely people to see what inspires me for my work. Because you know, in my work I have this as basic as we've been talking about this that painterly inspiration. But I also very much interested in, in youth culture subcultures. As I said, I work with the musicians. So I'm mixing all this to, to to get a mixing all this together. And, and that's what I posted on my social media as well. reported that most fashion photographers are men? But do you feel that it's changing now?

Wanda Martin: 28:00

I think probably if you look at the numbers, then majority of fashion photographers up until today are still male photographers, but it is changing. Even if I just looked at my class at the University. Actually, it was 80% girls and 20%, boys. So I think we are getting there. We are getting there. So slowly, step by step. And it's interesting because even when I chat to models, they do tell me sometimes that working with a female photographer, especially as a girl, like sometimes we photograph 16 year olds or or 14 year olds, it's it's a very different experience for that for them as well to work with female photographers. And probably there's a different kind of sensitivity to working with female photographers.

Angela Nicholson: 28:50

Yeah, yeah, I can imagine that. And actually, you know, most fashion photography is consumed by women as well. So it kind of makes sense that there should be more women shooting it.

Wanda Martin: 28:59

Oh, definitely. Yeah, I didn't even think about that. Because I do. I do shoot a lot of menswear as well, though, maybe that's why I didn't think about it. But it's interesting, because I love photographing, like menswear and work with man models as well. But it's definitely most of my jobs are actually women's wear. And that's where more of the monies and beauty the beauty industry.

Angela Nicholson: 29:26

The fashion and beauty industry has a bit of a reputation for being quite cutthroat. Do you think that's

Wanda Martin: 29:30

I mean, I've heard that as well, but I never true or not? experienced anything bad to be honest.

Angela Nicholson: 29:36

Oh that's good,

Wanda Martin: 29:38

Which is good. And you know, sometimes I get those questions like Are you as a female photographer? Did you find it harder? Would it have been different if you were a male photographer? And obviously, I cannot really tell what would have been the difference. But I Yes. But honestly, I never felt any backlash. So I think maybe I'm just lucky. I'm just being very positive and ignoring all the bad things.

Angela Nicholson: 30:04

Yes. I laugh because you reminded me of an editor once asked me to write something from a woman's point of view. I was like, 'Okay. What else could I do?' There you go.

Wanda Martin: 30:17

That's funny. Did you write it at the end?

Angela Nicholson: 30:20

I did. I did. Yes. So now I think is a good time to go for six from SheClicks. So I've got 10 Questions from SheClickers I would like you to answer six questions by picking numbers from one to 10. Please. So could I have your first number?

Wanda Martin: 30:35

Three?

Angela Nicholson: 30:36

Number three, you're a Canon ambassador. And you've had your images published in some of the biggest magazines. What are your ambitions? A few people asked that kind of question.

Wanda Martin: 30:46

Ooo, I love that. I literally just wrote a list on the first of January for 2024. So let's get inspired by that. But basically, as we said, like I'm also known as a fashion photographer, I've worked for big magazines and brands. And of course, I would like to shoot campaigns for certain brands, but I'm more and more interested in portraiture. So my goals are more like, who's the famous artist I would like to work with? And I have, I have three people on my list. I would love to photograph actually for, let's say, four. But Patti Smith, would be a dream to photograph, Iggy Pop, and Nick Cave, these musicians and in brackets Johnny Depp as well.

Angela Nicholson: 31:33

Amazing. Yes. So strictly A-list.

Wanda Martin: 31:37

Yeah, that's the plan.

Angela Nicholson: 31:39

Excellent. I think that's a brilliant set of ambitions. Fantastic. I love the fact that you wrote that down at the beginning of January as well. Yeah, I think that's a really good way to start a year positively. So congratulations.

Wanda Martin: 31:52

Thank you. There were a lot of things on that list. And I wish you the very best of those.

Angela Nicholson: 31:56

I look forward to seeing your pictures.

Wanda Martin: 31:58

Thank you.

Angela Nicholson: 31:59

I saw an image of Nick Cave just recently, and he strikes me as a really interesting guy to photograph. You know, I think you'd enjoy photographing him.

Wanda Martin: 32:07

Yeah, I mean, I mean, all these people, I think I mentioned they're just very interesting characters as well. And obviously, I find them like, genius in their own field, that like even photography wise, their faces are very interesting. So um, yeah. And obviously, the hard part is they are all icons. So it's not easy to get them for a photograph because they don't need extra publicity anymore. But yeah, fingers crossed for me.

Angela Nicholson: 32:32

Yeah, I actually think getting them engaged as well, because you know, they've been photographed a few times. So like you say, so. Exactly. Yeah, getting them on board, and then getting them engaged with it. But yeah, good luck. I'm sure you'll manage it. And yeah, okay, so can I have another number, please? Number six. What advice would you give to someone who's feeling a bit stuck creatively? That question is from Tiana.

Wanda Martin: 32:52

It's interesting, because, as I said, during the, during the pandemic, when I was working on those self portraits, I think that was a time for me when, uh, for a while I didn't know what to do where to start, like, you know, like, what to photograph because in the prior years, I was like, always working for Commission's, and then I think that's also good thing that is that I didn't have to fulfil anybody's idea or, you know, like request and I was just literally, on my own experimenting with different things. And literally just trying out different lighting and playing around and just trying to motivate myself and creating events, some still lives at home, just just trying to find a joy in like playing around. Exactly what I did when I was when I was a teenager, just falling in love with photography again. And I think that's a good thing that you know, just if you're just playing around and experimenting with like new techniques, new lenses, new everything, just for yourself, and you don't have that lead, you know, you have to show it to anyone. So, I mean, probably that's what that's what I would say.

Angela Nicholson: 34:10

I think that's really good advice. What you were saying earlier about when you started out you know you had the one lens and you didn't have any lights and they still think sometimes that can be really motivating from the point of view you have to work around those problems and solve issues you know, how are you actually going to achieve the look that you want using fairly simple equipment because it's very easy to think Oh, well I need to buy this and throw money at it.

Wanda Martin: 34:35

Exactly.

Angela Nicholson: 34:37

And then that kit becomes quite intimidating because that the Oh no, I need to use this kit because I spent all this money. Exactly. And sometimes it's best to just strip it all away and use the basics.

Wanda Martin: 34:47

And you know, it happened to me so many times then I ended up using a little torch light that is like £30 worth of torch light or lightning and you know he has a very interesting spotlight effect or up until today I do that sometimes that I just put a little buzzer lien or like a lip balm or something on my left on my lens while on a filter and that I put up islands to create that sort of dreamy effect and you know very DIY solutions can be so exciting and you know, instead of a backdrop by just hanging up a curtain or or something you don't have to spend a fortune on create something exciting just you have to use You're creating an ad and just playing around with things. Yeah.

Angela Nicholson: 35:32

Okay, can I have your third number please? Number 10 What has been the highlight of your career so far? And that's been asked by several people.

Wanda Martin: 35:43

Ooo, probably again, I wouldn't say any, any fashion project. But I mean, obviously, it was a pretty good thing when I first got an agent in Paris, and she got my first Vogue shoot at the time I felt it was, it was the biggest thing of my career. But now looking back again, fully, I would say a few people who I loved working with, I loved working with a gnat. Now I'm actually working with her again, musician girl called Aurora. I mean, I didn't pronounce it probably in the right way out, or she's a Norwegian, singer, songwriter, musician. And I did her latest promo shots, and we are working on her next album as well. And her aesthetic and like little visual universe is so is it just resonates with me and resonates with my visual world and aesthetic as well. And it was just such an interesting experience. When we were working on that shoot together. It was like almost, she put it it's like us dancing, though. It's like, we were inspiring each other. And we were just reading some beautiful images. And it was just such an unique moment. And she's quite famous. I guess that was good for, for my following again. But and I shot her for Universal Music. So sometimes I've worked with, like for record labels as well. I also loved working there. Actor Jamie Campbell Bower, I photographed him just when a Stranger Things season came out. Right. He's one of the major characters. And he's a very humble guy. And it was a great experience.

Angela Nicholson: 37:22

It's interesting that what you talk about there was it's not just the oh, well, I've achieved this. It's the experience that you had while achieving that and the connections that you made. And the fact that you know, it was kind of life affirming, or enriching in some way.

Wanda Martin: 37:37

That's true.

Angela Nicholson: 37:38

Okay, so could I have your fourth number, please?

Wanda Martin: 37:42

Number nine, please.

Angela Nicholson: 37:43

Number nine, do you have any advice for anyone wanting to get into fashion photography,

Wanda Martin: 37:48

There's a few things. As I said, I was a very shy person when I started out photography. But still, I think, in our age and generation, it's slightly easier. So it's not like, then my father was a photographer, you literally had to take your little portfolio and walk into an agency or walk into there ever an office to introduce yourself, and you have to be sort of pushy. But now since we have the social media and our laptops and emails, we can just keep on like emailing people introducing ourselves and, and our work to people. And like, literally, I think this is the most important element and networking element, because you can be the most authentic human being in a world. But if no one's gonna see your work, then, you know, it doesn't matter. So, personally, yeah, yeah, you need of course, upside. But I think social media is more of our website now than our actual website. So you have to keep on posting obviously, that helps us out if you build a follower. But again, just to reach out to people reach out to magazine's editors you want to work with reach out to stylists, makeup artists, hairstylists models you want to work with, and just build up a portfolio and on actions. And again, just keep on emailing. And you know, sometimes it happens to me as well that you know, I don't get a response, and then the follow up, then you might have to pull up again, and then just try healthy and later or a year later. But basically, I think that's the most important part of it, unfortunately, to put your work in front of people

Angela Nicholson: 39:20

Just have to keep plugging away. Yeah. I like the fact that you didn't say what your dad said, just'don't'. That's good.

Wanda Martin: 39:30

No, now I'm not gonna say that. I love what I'm doing.

Angela Nicholson: 39:33

That's great. That's really good today. Could I have another number please?

Wanda Martin: 39:38

So, number one.

Angela Nicholson: 39:40

Okay, this question is from Liz. You could choose anyone an anywhere to shoot, where do you go and who do you choose?

Wanda Martin: 39:47

One person, it would be Iggy Pop, and hmm where would shoot him? I mean, I would happily shoot him in his own mansion in Florida somewhere. But or even Chateau Marmont, in California, in Los Angeles. Let's say let's say that

Angela Nicholson: 40:06

Sounds good. Okay, your final number then please?

Wanda Martin: 40:11

Number five, please.

Angela Nicholson: 40:12

How do you manage models who do not pose the way you ask them to? Do you have any tips? That's from Mary?

Wanda Martin: 40:19

Well, it yeah, it happens every now and then. Since sometimes I've worked with very young unexperienced models as well and we're shy obviously And it's totally understandable. But every time when I have a photoshoot even when it's with models, or even when I'm photographing musicians or famous celebrities or actors, I'm always trying to have a conversation first. And, you know, just to have this sort of friendly atmosphere. And I think it's very important to have a conversation and just but my always my main advice, or at least, that's what I'm always doing. Whenever I'm shooting, I put music on, I think, shooting without music, I can. Like, again, because again, we don't want them to feel it's a very serious business. And obviously, we all taking it seriously because it's still our job. But we can have fun at the same time. So when someone is very stiff in front of my camera, I always ask them, Well, what kind of music you want me to put on and you know, that helps you relax and, and start posing. And, of course, I always have a mood board on set as well. So I always start every every, like, shoot preparations, we putting a mood board together, which is basically which contains inspirational images for lighting or styling for the general atmosphere, but also proposes as well. And I think it helps as a starting point. And you show that mood board to a model. And you can start with a pose like that, that you can actually see on one of these images. And then you can start directing the model. You can give feedback, but I mean, movies being nice, I guess that helps as well. I think giving constant feedback helps them feeling more and more confident in front of your camera. And eventually they start trying out different things and posing themselves as well. So yeah, just being friendly. Having a friendly atmosphere and music. That's it really.

Angela Nicholson: 42:23

Yeah. Building a rapport.

Wanda Martin: 42:27

Yeah.

Angela Nicholson: 42:27

Do you have a go to playlist?

Wanda Martin: 42:29

I like hardcore punk as was obviously I wouldn't put anything like that on because I know it's not everybody likes punk. But probably I would go with something 60s like the Beatles or something. Something that is very lovely and universal,

Angela Nicholson: 42:46

That does sound like a good choice. Well Wanda, thank you so much for joining me today. It's been absolutely lovely speaking with you.

Wanda Martin: 42:53

Thank you for having me.

Angela Nicholson: 42:54

Bye bye.

Wanda Martin: 42:55

Bye.

Angela Nicholson: 42:58

Thanks for listening to this episode of the SheClicks Women in Photography Podcast. I hope you enjoyed it. You'll find links to Wanda's website and social media channels in the show notes. I'll be back with another episode soon. So please subscribe to the show on your favourite podcast platform and tell all your friends and followers about it. You'll also find she clicks on Facebook, Twitter, Instagram and YouTube if you search for sheclicks net. So until next time, enjoy your photography.