The Evolving Style with Mark T Simmons by Andy Butler

I first came across the work of Mark T Simmons earlier this year when setting up the Mobiography project. At the time he was producing a steady stream of stunning images based on the London Underground. It was the tonal quality of these images, the striking lines of perspective and the feeling of isolation which struck a chord with me and set his work apart from other photographers who I was following at the time.

The fact that his photographs attract a long list of comments on Flickr and that his work is a regular feature on mobile photography websites is testament to the connection people have with his work. I felt the need to find out more about Mark T Simmons and this is how we first met.

What I love about Mark’s photography is that it is continually evolving. He focuses on a theme and explores every aspect of that theme before moving on. His aim is to post images of quality rather than quantity and his photography is based on a basic foundation of composition and light rather than relying on the heavy use of post-production apping to pull something out of the bag. Consequently Mark’s work links together into tightly grouped themes which have evolved and developed into a series of photographs which document life in London.

My aim here is to dig deeper and find out more about the thought process behind his photography, his surroundings and how these have influenced the evolution of his work.

AB: Andy Butler MS: Mark T Simmons

AB: Could you start by telling us a bit more about yourself, your background and how you discovered mobile photography?

MTS: I was born in London and have lived between here and Australia for most of my life. Even though I have always been interested in photography, it was only when I purchased my first iPhone last year that I realized that I could shoot images, constantly, of everything happening around me.

This opened up so many possibilities to me.

Tuned to a Dead Channel

AB:  You mainly shoot street photography and urban locations. How would you describe your style and approach to this form of photography?

MTS: I have always believed that when it comes to street photography you need to get in, get close, take the shot and then get out again; but never try to hide what you are trying to do.

In London, people move quickly with very little care for others around them and in a city with such a large number of cctv surveillance cameras, most people do not like being caught on film (or the digital equivalent). As someone aiming to capture a scene or a specific moment, you need to be quick but still show the necessary amount of confidence.

For me, a street image HAS to have something going on in it; a dynamic or a story unfolding between people and nothing added after the actual shot, especially birds or umbrellas. I HATE birds and umbrellas added to images, as everyone does them.

There Are Moments When We Are Ultimately Alone

AB: When we first met you were shooting a series based on the London Underground. How did this series come about and what was the aim of it?

MTS: I only started using my mobile as my camera after I bought the iPhone at the end of 2012. Around the same time I had also started a new job in the centre of London and began travelling regularly on the underground system. The only time I had to take photos was during my commute to and from work. After a little while I saw a pattern emerge in my work. It was like a motif and I was intrigued to see how this could develop and the direction it would take and that is how the “Live From The Underground” series evolved.

I do not try to capture the underground as Transport for London would like, but as I wished to see it; symmetrical lines leading the viewer into the image and toward the vanishing point with a single solitary figure adding to the sense of loneliness and alienation.

I am fiercely proud of those images and even though I have seen other mobile photographers shoot down there now, I have never seen anything that I felt bettered my work.

Return Of The Shadow Men

AB: Could you describe your transition from the underground to your next series titled ‘Killers, Thieves and Lawyers’?

MTS: It might seem obvious but you cannot keep shooting on the underground forever. It had actually started to affect me as I was starting to search out remote parts of the network to shoot on. I needed to try something different.

Many photographers have said that you should try and shoot what is around you in your life.  As I work in the Wall Street equivalent of London, I decided to see if I could capture the inhabitants of this strange place when they drop their guard, show candid moments of people who are usually very guarded in their business lives.

What I found most surprising about this project was just how lonely everyone looked. Not what you think of when you are surrounded by some of the biggest corporations on the planet.

Mental Intrusion Of The Graphs Of Gloom

AB: You have just completed another series which documents life on the streets of Shoreditch in London. Why Shoreditch in particular?

MTS: For me, Shoreditch is both the most inspiring and depressing area in the whole of London.  Even though I am a South Londoner, I have always loved visiting Shoreditch, especially for its local traders, its killer street art and fantastic Indian food. I loved it because it was unique. You could buy an opened tin of paint, a black and white television or a gas mask on a Sunday from the markets there. The place just had a great vibe.

However, it is disheartening to view how much it has changed. There is now an awful lot of money moving into the area. Real estate is changing; with massive new apartment developments taking place, even the street art is becoming predictable. I knew I wanted to capture the area in a series of images right now before it totally loses its identity and becomes just another London suburb of boutique clothing retailers, craft beer emporiums and cupcake sellers.

By now, it probably already is.

End Of Season Sale

AB: Do you have any plans for future photographic projects?

MTS: I am taking a break from mobile photography and social media at the moment to think about the next direction I want to take my work in. I get quite bored after a while of working in one genre of photography and I think sometimes moving into another, even for a short period of time, can improve your skills.

I have only ever taken one portrait with my iPhone and was really pleased how it came out, considering it was off the cuff and very quick but it’s definitely one direction I would like move in.

A Place We Can Go

AB: How do you manage to keep inspired and motivated so you can continually evolve your photography?

MTS: Becoming a better photographer is all about looking at other photographers work, for me. If there is a photographic exhibition on in London then I make sure I get to it and if I am travelling I seek out photography shows in those places as well as taking as many photos as I can while I am there.

I am also always looking at the work of a number of very inspiring people on Flickr. People like Shel Serkin, Brendan Ó Sé, Giovanni Savino and especially Albion Harrison-Naish who post, constantly, brilliant images of what is happening around them.

The X Factor

AB: You have a feature on Mobiography.net where you ask a mobile photographer about the photo they are most proud of. Could you tell us about this and what have you learnt from speaking to other mobile photographers about their work?

MTS: When I was fortunate to be asked to contribute a weekly feature for Mobiography.net, I knew I didn’t want to do a showcase or an interview but actually allow a fellow mobile photographer I admire, rather than a reviewer, to choose the image they are most proud of and talk about it. What makes that one image special to them and why they rate it above anything else they have done?

I can honestly say that I have learnt something from every artist who has provided an image for that week. It’s not just from the image itself but what they have written to accompany it. I suddenly gain a greater understanding of what they tried and succeeded in achieving with their shot and can view it in a much more personal way.

Chance Street

AB: Do you have any favourite photos and stories that have come out of this feature?

MTS: That’s a difficult one. Although it has only been running for a couple of months, the feature has already had some amazing images and stories provided by the likes of Paula Gardener, Ryan Vaarsi, and Shel Sherkin, but for me the one that that really stands out is Janine Graf.

Everyone knows Janine Graf for her amazing series of images involving a rhino, a giraffe, balloons and a backdrop of some of the most amazing places in the world, however, the image she was most proud of was a Hipstamatic shot called “She Played Pretty Music”. It was a picture she took of a busker in Seattle that set of a chain of events involving the local newspaper, the family and a wonderful email she received from the mother.

For me, it was everything I had hoped for with the feature. You can never second guess the image an artist loves the most. I have been constantly but pleasantly surprised by every image that has been selected so far.

Priorities

AB: Let’s turn the tables on you for a moment. Of all the photos you have taken which is the one you are most proud of and why?

MTS: Easy. “The Blue Pill”.  I had seen an exhibition of the work of William Klein and Daido Moriyama in London and watched a documentary there on Klein. How he would get in really close to people, to capture the moments that only close proximity can accomplish. He was fearless. The following day after work, I walked on to London Bridge, got down on my knees in front of the on-rushing commuters and just started firing off shots on my phone.

The subject in the image was clearly in a stressed state and appeared as one does in that moment when you have gambled everything in your life and then it suddenly starts to unravel, while all around him life continues and his fellow commuters just keep coming.

It’s emotive, it’s in your face and it’s the closest I have ever got to a perfect street image.

The Blue Pill

AB: You are very active on Flickr. How has this community helped you connect with and meet new people or develop new ideas?

MTS: I love Flickr because the community on there is very special. Not only do you receive encouragement from followers of your work but also suggested improvements and tweaks.  It’s not so much about promoting my work; it’s more about the connection with this amazing community. I just don’t think you find that anywhere else.

Seeing the constantly high standard of photographers on there just makes you realize how fortunate we are to be living at this time when with just a phone, a person can capture, produce and share amazing images with others.

Reclaim The Street

AB: Finally, how can people connect with you?

Flickr // Twitter// Oggl: @marktsimmons

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