Mark Denton is from Manchester but currently based in Kent. He started photographing at age 13 or 14 and carried on into university. Though he studied politics he spent as much time hanging around with friends doing fine art photography degrees at art college as with his politics classmates. Those friends helped him gain access to a place he enjoyed spending much time in – the college darkroom. Prior to starting his degree he took a year out to work at a photographic gallery and darkroom co-op, where he did a bit of everything from helping to hang exhibitions to teaching a beginners’ black & white darkroom class.

About five years ago after taking an extended break from photography, Mark was inspired by the Cruel and Tender exhibition at Tate Modern. “I was exposed to Eggleston, Boris Mikhailov, Philip-Lorca diCorcia and Rineka Dijkstra and suddenly the world opened up for me photographically speaking.”

Mark’s series ‘Missionaries’ (2008) portrays the young recruits of a fundamentalist evangelical Christian community in Sussex, England. In this project we see images of young people as they undergo six months of intense training and conditioning in a closed environment set very much apart from mainstream society.

Mark is currently studying for an MA in Photography at Thames Valley University in Ealing.

LIP: Which subjects do you have the most interest in photographing?

MARK: I’m really interested in issues of belonging. I’ve always been inherently quite a social, large-group kind of person, and I think there’s actually a personal search for family and community lurking behind a lot of my work.

Linked to this I’ve always been interested in people who exist outside the mainstream, who have carved out a niche and defined themselves as part of a community that is exceptional, that defies expectations. I’m interested in how those people are at once defined in opposition to mainstream living but at the same time are parts of what is often a very structured, ordered and normalising community. They swap one set of rules and conventions for another. Stemming from this I’m interested in questions about how photography – and especially portraiture – conveys meaning and ‘truth’ to a wider audience.

LIP: Could you tell us how your Missionaries project came about?

MARK: It started when I met someone who had been involved with the group many years ago and had, in her words, ‘escaped’. The story of her experiences and time there interested me, but what really fascinated me was her underlying need to belong, to be part of something that offered salvation and an apparently complete model for living. Having heard about this community existing just 40 miles away I just knew I had to get in and photograph it, to try and get to the heart of what it was about.

It’s not a documentary project, though aspects of the work certainly skirt close to that definition. I was very conscious that I was in many ways hovering around the documentary genre but was determined not to allow things to fall into that mode. It’s definitely on the ‘fine-art’ side of the documentary-art continuum, though I think this notion itself is pretty outdated nowadays. The project is almost entirely portrait based, though it also includes some photographed pages from the diaries and the journals of the students.

LIP: How did you approach making arrangements with the community to gain access?

MARK: I got in touch with some people involved with the group, and they in turn put me in touch with the leadership at the place in Sussex. It took me three months to negotiate access – I met with various staff and leaders beforehand and had to make a couple of presentations about the project. It was quite a nerve wracking time for me, as the project could have been halted at any point. To be fair, the reaction of the leadership was pretty positive. I think they were as interested as I was in seeing the results. In these kinds of situations, honesty is always the best policy and I simply explained that I would be taking quite formal, studied portraits of the students, and that I wasn’t interested in creeping around with an SLR taking candid or pj-type shots.

LIP: How long did you spend shooting?

MARK: I spent 6 months shooting. I’d generally go there once or twice during the week and at weekends. I followed a group of new students starting out on an intensive 6 month long initialisation and training course. The students came from all over the world, and particularly from USA, Scandinavia, the UK, Holland and Belgium.

LIP: Why were you so determined to avoid Missionaries becoming a documentary project?

MARK: Although the lines between traditional documentary and fine art practices are becoming increasingly blurred - I’m thinking of photographers like An-My Lê, Simon Norfolk, Luc Delahaye, Alec Soth - I think that the motivation and intention behind each kind of practice remains fundamentally different. Because of its nominal subject matter- religious fundamentalism - it would have been easy for Missionaries to have become a documentary project and I was very conscious that at several points I was skirting close to this, but it was never about documenting the community per se, it was about exploring the ways in which individuals relate to and are shaped by the wider communities of which they are a part, and about how I related to those individuals through the act of photographing them.

A more documentary-based project would have focussed on conveying the life of a closed and quite extreme religious community by including scenes of background life and the daily activities of the members. It might have relied on more spontaneous shots, whereas mine were set up, were very slow and very deliberate. A documentary project would have likely been more focussed on the extraordinary, the sensational, on the spectacular; these things were certainly in evidence and I was (and remain) deeply critical of them, but they were not what I wanted the project to be about. My interest was in the people, and the project is almost entirely portrait based.

LIP: Did the process work out as intended then?

MARK: One of the most interesting things was how its focus changed so drastically during the shooting. I started out from a very critical position – I’m a firm atheist and I was definitely critical in my own mind about what was going on in the community, about how people were being indoctrinated or brainwashed. But as the shooting commenced and as I got to know the students I was mixing with, the project shifted and became less about my opinion and more about their experience of the community and of the relationship between myself as photographer, and them. The photographs became evidence of a moment of shared trust between me and the sitter, and I became acutely conscious that these people were offering something of themselves to me and the camera. I’m drawn to situations and people where this possibility for connection exists. I love the ambivalence, the uncertainties and contradictions that are in some of those images.

LIP: How would you describe some of the relationships you built with individuals during the Missionaries project? Are you still in contact with any of your subjects?

MARK: The relationship between myself and the people pictured is what lies at the heart of the project. It’s cliché, but It really is all about establishing a condition of mutual trust between you. For the first few visits I went along without a camera just so we could get to know one another away from the presence of the camera. And this helped to establish a relationship later when the students came to have their pictures taken. For many of them, the 20 minutes or so spent each week in front of the camera became a kind of release, a kind of refuge from the pressure they were under the rest of the time. You could see them almost retreating into themselves for a moment, taking time to reconnect with themselves and a kind of stillness descending. They really were under a lot of pressure - psychologically and time-wise - during their training.

I’m in email contact with some of the students, but they have all been dispersed to various corners of the world as soon as their basic 6 months induction was completed. I’d love to find out where they are and maybe make some follow up portraits of them in their new lives.

LIP: Do you feel your portraits scratch the surface to reveal anything of their specific personalities, and if so what?

MARK: I can talk about what motivates me to make a particular portrait, and about what I think that portrait is a record of, but I’m wary of making too many claims beyond that about what the image reveals of the sitter’s true nature. After all, as soon as the image is displayed publicly and viewed by others it takes on a life and a meaning of its own, largely regardless of what I as photographer may originally have intended. People bring their own histories and psychologies with them when viewing photographs and these generally have far more impact on how an image is perceived. This ambiguity of meaning - almost a loss of control - bothers some photographers who feel that it weakens the case for photography as a medium of valid personal expression but for me it is one of the key strengths of photography rather than a weakness.

LIP: You have presented individuals in your pictures. Do you see these as clearly depicting their different personas or as parts of a whole that without the others are separate, either literally or metaphorically, of the Mission?

MARK: That’s a good question! The work was intended from the outset to be viewed very much as a series. During shooting I became aware that I was shooting people individually but was starting to depict them in a similar way. They’re shot full length, generally alone, confronting the camera directly. It occurred to me that there was an interesting dynamic going on - I was using photography to try to isolate and emphasise the individual, to liberate the individual - visually at least - from the wider community, only to then place the individuals back into some sort of photographic series. In a sense I was taking individuals out of their literal community (a group of which I was essentially critical) and placing them into a new grouping that exists photographically. I think there is a subconscious desire in there to use photography to investigate, make sense of and even visually recast situations in which I feel individuals are being deluded or manipulated.

LIP: What are your future plans for Missionaries? Do you see yourself producing a book?

MARK: There will be a self-published book, plus an exhibition of selected prints at the community itself. I’d love for the project to be picked up and exhibited by a gallery as this was always the principal output I had in mind when making the work. If any curators are reading this then hey, let’s talk!

Mark’s website

Interview by Tiffany Jones

Chris first took pictures in the 70s, mostly in black and white, and mostly developed and printed in her basement flat in the East End. She went on to study graphic repro at London College of Printing, where photography was on the syllabus and continued to enjoy it for a few more years before other interests distracted her. She didn’t pick up her camera again in a serious way for about twenty years.

More recently, Chris took voluntary redundancy from her job producing websites and retrained as a counsellor. She says, “Although I enjoy this immensely, it doesn’t fulfil my creative side in the same way. So I started to go out with a camera again, first photographing people in my local area - and as before, mostly in black and white.”

For this Showcase Chris shares with us a series of pictures she has made at the seaside, and discusses her background and motivations in pursuing her interest in street photography.

LIP: Could you explain what inspires you to photograph people in seaside locations?

CHRIS: I was born in Brighton and wherever I am, whichever country, I always gravitate towards the sea. It therefore seems fitting that one of my ongoing projects should be the seaside. I’m lucky in that it attracts such a transient crowd and there’s no shortage of material.

My seaside pictures aren’t all of England, but what connects them together for me, is that they have a very English feel about them. I think when most people think of the English seaside they naturally think of Martin Parr, but I think more of Tony Ray-Jones or David Hurn, only in colour - these are my influences. However, I’m not trying to emulate them. I try to put my own spin on things, to capture some sense of involvement from my subjects – to make the landscape theirs and theirs alone, even though tomorrow’s population may be different. Sometimes the people I photograph feel like characters in a play only I don’t need to direct them. They seem to know exactly where I want them to be.

Although these guys were playing petanque, their movements suggested the bad dancers at the school disco. I found them very comical to watch. I like how they’re frozen in mid-step.

The sheer abandonment of this person’s pose caught my eye. I’m full of envy for someone that can just fall asleep on a bench, with no inhibitions.

LIP: Do you mostly take pictures as an outside observer, or are your subjects aware of your camera?

CHRIS: Initially, I wasn’t so confident and wanted no interaction with my subjects… but at some point this began to feel less satisfactory. I missed the connection. Now I’m getting closer in order to obtain that connection, which I think gives a different feel to the more recent work I’m doing. Alongside this, the gift of a new camera (my first DSLR) which is larger and noisier, more often attracts the attention of whoever I’m shooting.

This chap was well prepared for his day on the beach with his chair, towel and newspaper. I imagine him scanning the beach for a likely lady to strike up conversation with.

LIP: How often do you shoot?

CHRIS: I now go out two or three times a week to shoot – between seeing my clients. My camera is always with me. I wander around town, scanning the street for interesting faces. Sometimes I’m so entranced by an expression that I forget to take the photo but it doesn’t seem to matter. I rarely return home disappointed.

LIP: When you photograph people, aside from expressions that you see, can you explain what draws you to certain characters?

CHRIS: With the elderly people I’ve photographed, it was a sense of strength combined with vulnerability. As a bereavement counsellor, I’m always amazed at the strength people find to cope with the situation they find themselves in. I think this can also apply to the aging process. Getting older isn’t always easy – with its associated issues; immobility, ill health, bereavements, thoughts of ones mortality – and in many cases, invisibility.

More generally, I’m drawn to people that can I feel some connection with – or would do if I knew them. There may be something a little quirky or unusual about them (though I can’t always put my finger on what it is)… and as someone that doesn’t easily ‘fit in’ I can identify with that. Of course, these are purely my perceptions as I really have no way of knowing… and in some ways, voicing these thoughts makes me feel uncomfortable as they play to assumptions that I don’t like to have. After all, it’s very possible that I’ve just caught them having a quirky moment.

Compared with others that were around on this really hot day, this pair struck me as rather over-dressed and formal for their seaside environment. I think there’s some sense that things are not quite as they seem.

LIP: You mention that in many cases, aging involves issues of invisibility. Your body of work indeed includes a remarkably significant number of images starring aging and elderly people. Do you see your work to be shedding light on their issues and if so, what points do you think you may be trying to communicate with your audience?

CHRIS: I certainly don’t aspire to be a champion of the elderly in terms of the issues they have, however, if as a bi-product of people seeing my photos, it makes people more aware, then I feel that’s a good thing. After all, the population in general is getting older.

I thought their pose quite interesting, and I liked how he was holding her hand in such a protective way. There’s such a sense of warmth between them.

LIP: Are you setting out to create a body of documentary-style pictures, or do you have any usage in mind for your images before you shoot?

CHRIS: I didn’t set out to create a body of any style at all. If it’s there now it’s something that’s evolved naturally. If you take photos very often over a long period, then I guess certain patterns can start to emerge and you kind of grow into your style. It’s hard for me to see these pictures in a documentary light right now. When I look at photographs I took in the 70s they have a documentary style… but that’s 30 years hence. I think this is something that might become more apparent in say, 30 years time.

As far as whether I have any usage in mind before I shoot; sometimes I do, sometimes I don’t. One project I’m currently shooting for is a book – and I go out specifically to shoot for that… but if something entirely unrelated presents itself, then I can be easily distracted.

Here, I was drawn to the strange perspective. The motor home is firmly on the ground, as are the blue boxes that the couple are sunbathing on – yet somehow, it all looks wrong. I also thought there was a rather painterly look to the scene.

LIP: Do you find the task of editing, or making selections of your work for different purposes, a difficult one?

CHRIS: In the past I’ve found it pretty difficult because my shots have tended to be more random, with no specific project in mind. Now, I endeavour to work more towards specific projects I’m finding it a lot easier and actually enjoy the process of editing. I do have to step back a bit sometimes as if I keep looking at the same pictures again and again I start to get sick of them. If I have a break I find I can come back to it with a fresh pair of eyes.

I saw the composition before I saw anything else. I liked the shapes and juxtaposition – and I liked how they look so at home. It feels like their special place, where they’ve been coming for years.

LIP: I see you are a member of a collective of photographers, ZuperQuirk. Could you tell us what your experience collaborating with other photographers is like?

CHRIS: It’s been very exciting for me. I’d got to that stage where I wanted to take things further but I wasn’t sure where to go. Working with others in this way has helped me to start thinking more in themes. It’s interesting that as a group we have certain things in common - in particular, an interest in the quirkier side of life. Yet, we each have our own style… and of course, being from various corners of the globe, our environments are very different. They are all people whose work I admire and in terms of feedback and support it’s invaluable.

Chris’s website

Interview by Tiffany Jones

Ivo was born in Amsterdam and earned a degree in Mathematics, though after a few years working in the field he realised he had neglected his creative side. His interest in photography led him to complete a BA at the Academy for Photography.

He says, “This was a change of life. It was so inspiring and fascinating. Then after finishing this school I decided to spread my wings and go to England three years ago. I still earned my money as a mathematician, but I knew I wanted to become a professional photographer.”

Now 35, Ivo has given up his maths job to start his new life, and his focus is fine art and illustrative photography. We asked him some questions about his work.

LIP: How do you find your inspiration and ideas for pictures or series of work?

IVO: I find inspiration by looking around me. That could be people rushing to jobs they do not like, rough locations in industrial areas, people mowing their far too small garden or a forester next to a dying tree. In fact, I get inspired by people’s ‘failure’ to act upon their desire. Most of my ideas are about the dream, the contrast between desire and reality. Other than observing my surrounding, I look at art. I visit museums and galleries, read books and explore the internet.

LIP: Do you shoot candid pictures at all then? Some of those scenarios sound like unmissable opportunities!

IVO: The scenarios I describe are just sources of inspiration. When it comes to the final shooting I organise the setting to get the best and most striking image. The reason is that I try to get away from pure reality and add my own imagination to the final photograph. In that way I am not a street photographer or journalist. That’s a different discipline.

LIP: Could you explain what process you go through once you have a concept in mind?

IVO: When I have a new idea or theme, I work things out on paper. I make little drawings and write up ideas. Before I go out to take the picture, I have a rough idea of what the final image would be like. Then I need to find a location, the props and a model. During the shooting I am pretty organised and spend time in finding the right composition. This is very important and every detail counts. Fortunately, there is a lot possible in the post-processing stage, so sometimes I can ignore a disturbing lantern or can change the color of a door.

LIP: Do you think being a mathematician has brought something significant to the way you approach this creative work?

IVO: I think my meticulous approach and the idea of having this almost final image in mind before shooting is related to my maths background, I do a lot of research before shooting.

LIP: So are you shooting film to start with? Any strong feelings about shooting digital?

IVO: I would like to shoot digital in a way. It is quicker and easier. But I love the film feeling. It is also a matter of price. If I want the same quality and ability to get big enlargement it is going to be expensive [for top quality digital equipment]. I was considering a digital back for a medium format camera, but that’s expensive and you also lose the wide angle effect. And that is something I don’t want!!

LIP: Your pictures have a bit of both humour and tragedy, and are theatrical in that way. You’re often the actor in these roles you create too. Is there a particular reaction you want to provoke?

IVO: I want the viewer to think: what is going on? As my theme is about the dream, I want to shake people up a bit and wake them up. Humour comes naturally and is a way to make people wonder and keep wondering.

LIP: It seems you enjoy using props, could you tell us a bit about that or what’s the meaning of it?

IVO: Yes, props are important and I choose them carefully. In the series with the rowers, I choose an oar as an absurd element that connects the portraits in the series. It was a sort of metaphor for the silent thoughts people have. Again, this is about the dream of being someone that you are not in reality. The oar stand for passion. Another example is the man with the party lantern near a leafless tree on a beach. This shows a nice contrast between happiness and the confrontation with reality.

LIP: I imagine in your image of the woman with the handbag - she has forgotten where she is, has amnesia… or has she just finished a cup of tea at a roadside tea stand?

IVO: This is a series I am going to work on. The concept is ‘being lost’ and it is based on some short stories I did about a grandma and a grandpa. The grandma was always doing weird things and the grandpa felt embarrassed about what his wife was doing. He didn’t understand the world she was in. He liked reading his newspaper and smoking his cigar. Again, a sort of contrast between reality (grandpa) and a dream world (grandma). For the pictures I will only use grandma.

LIP: The landscapes you shoot are also significant in your images. What appeals to you about a particular location?

IVO: Locations are very important. They represent the world in which the personage lives. So in most of my creations, they are empty and hopeless. I like industrial areas, large fields and forests.

LIP: Do we really live in a hopeless state? Is that what you perceive as reality or part of the dream?

IVO: I am not saying reality is that hopeless, but I look for contrasts. The location is a sort of symbol of reality. Another reason to select empty places is that it draws the attention to the person and props. I don’t want disturbing elements in my pictures.

LIP: Now that you have committed to pursuing professional work, how do you see things evolving? What would be a dreamlike commission for you?

IVO: I would love to create some great artworks for a public space like an airport. I would work within a theme and do some sequences. That would be a real challenge.

I am in my early days and I guess my approach has to change a little. My work is very personal and I need to focus on commercial works which is very exciting. I believe in my approach and I think it is applicable. Though it will be tailored to the person or company I work for, I would like to stay as close to my personal style as possible. It will be very interesting to see how this will differ from my personal work. I will definitely not change 180 degrees, but I am open to new developments and styles.

LIP: You have just recently joined LIP. Could you tell us how you came to find the group and what experiences you have had as a member so far?

IVO: When I decided to start as a photographer, I was looking for a group in which I could share my ideas and get inspiration. In my search I came across LIP and it looked very interesting, especially the monthly meet ups. I went to my first satellite group meeting recently and it was very motivational, there were friendly people and lots of good work.

LIP: You brought a really lovely printed portfolio book to that meeting (City & Shoreditch)… could you tell us a bit about how you made it?

IVO: This was my portfolio book with my academic work. I printed the images myself on Hahnemuhle double-sided matt paper. Then I had it bound by a book binder. This man is a real artisan and uses traditional techniques. I was very pleased the way he did it. The disadvantage of the book is that all pages are fixed and you can’t change images. At the moment I am working on a book that I can update, but I want to try to keep the same feeling as the other book. I will bring it to the meeting one day.

Ivo’s website

Interview by Tiffany Jones