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1. The idea of becoming a photographer
1) came to Chris after seeing big sculptures.
2) was the result of his work with sculptures.
3) made him lose interest in sculptures.
2.Chris assisted the photographer who
1) had the latest photographic equipment.
2) gave Chris valuable professional advice.
3) used to ask Chris challenging questions.
3. According to Chris, working as an assistant is a good way into a career because you can
1) get a better understanding of the profession.
2) learn the basic techniques of taking pictures.
3) make friends with a lot of talented people.
4. The reason for buying a plastic camera was that it
1) allowed him to take original pictures.
2) was not very expensive.
3) was light to carry around.
5. Chris uses the phrase “That got the ball rolling” to say that
1) he became popular with the dancers.
2) he suddenly got very rich.
3) his art became more dance-oriented.
6. Chris goes to the dance performances because
1) the choreographer recommends him to see the piece.
2) it is always interesting for him to be at the premiere.
3) he wants to find the links between them and his work.
7. Chris thinks that dancers are great to work with because they
1) are lively and enthusiastic.
2) can cope with any problem.
3) can work long hours.
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Presenter: Our guest today is Chris Nash who is widely recognized as one of the most creative photographers in his field. He has held over 40 exhibitions of his dance photographs worldwide and has worked with world renowned dance companies and choreographers. And my first question is: What inspired you to become a photographer?Chris Nash: I kind of came at it from an odd angle. I was studying fine art at college and as part of the course we spent a week in the darkroom. I found it a bit like magic, watching the pictures develop. At the time, I was making a lot of big pieces of sculpture, and because I didn’t have anywhere to store them, I would have to take photographs of them and then destroy the sculptures. This was a bit heart-breaking really, so I took real pride in the images and gradually began to develop a greater interest in photography.
P.: Did you have any formal training?
C. N.: Not really. I spent more and more time in the darkroom. The tutors were the artists making work that was photographicbased. The darkroom technician at the college was great. He was a professional photographer and introduced me to John, the photographer I assisted when I left college. I wanted to do things, and John would tell me what I would need, what equipment, what books to read. I kind of taught myself, but he was there to help with any questions I had. The best way of learning is doing.
P.: You just said you worked as an assistant; is this a good way into a career?
C. N.: Yes, absolutely! In fact I think it is the best way. When you see a photographer working on the job, you come to realize, get a clear idea of what photography is about. You have to deal with a lot of talented people: models, performers, make-up artists etc. All of them have their particular habits and eccentricities. You need to be able to draw the best out of them and to be really patient. Ideally when you are at college you are taught all the basic techniques, but when you come out, there is a whole lot of other important stuff to learn.
P.: What was your first camera? Or the first photo you took?
C. N.: A really cheap plastic camera. I had that when I was twelve and then I bought a single lens camera when I got to college. Then I went back to a plastic camera. I saw this exhibition where a photographer had used a really cheap camera called a Diana. It had a cheap plastic lens on it, which made everything go fuzzy and dreamy. I wanted to get the same effect, so I went to a lot of markets, to try and pick up a second-hand camera. I had two which I would carry around with me.
P.: When did you become interested in dance?
C. N.: It was while I was studying in London. At that time the Dance Centre was attached to our college. So I met a lot of dance students and saw a bit of contemporary dance. I thought this would make a great subject for photography. So, I encouraged one of the dance students to go into the studio and let me take some photographs. I was fascinated by the results and sent the pictures into a competition and I won. I won 50 pounds worth of photographic materials. That got the ball rolling. This was about 1979.
P.: Do you go to dance performances of the people you photograph?
C. N.: Yes, but not very often. The way I work is a bit back-to-front. When I take pictures, it’s usually way in advance of the actual piece being created. Working with the dancers I can only imagine what the future performance will be like. And it is interesting to find out if the work I have done corresponds to the real play. So, sometimes I will go and see the premiere. It is important for me to see if the photographs make any sense and if the piece is how it was originally described to me.
P.: What do you enjoy most about your career?
C. N.: With the exhibitions I’ve done, I’ve got to do lots of travelling. I’ve had trips abroad on shoots, which can be a great thing. Also, I have really enjoyed working with dancers and working with creative people. Dancers always have a lot of energy and are always active. When you ask them to do things, all those little directions, they have absolutely no objections. When you work with other people who don’t have that physical training, it can be difficult to work in the same way. I love going to see dance performances, but it’s different when you work with dancers. It’s right there with you and it’s really exciting. That’s what I love.
