Our ardent readers and followers will have noticed that with our print magazine redesign we have done away with the conventional film stills to accompany the articles in our latest issue and have included more conceptual photography. A number of these are original artwork and this week we want to introduce you to the aspiring artists behind the cameras.
First is Ella Cousins, the photographer responsible for the above image that accompanies Claire Williams' article about stalkers on screen.
Tell us a little bit about yourself
I am a second-year photography student at Southampton Solent University. I have always been interested in photography from a young age, I would play around with any cameras I could find and would be out taking photographs wherever possible. My interest in photography probably developed more when I was at college, I realised then that I could broaden techniques within photography into a professional practice.
What is your approach to photography?
I would say my approach in photography varies. I am interested in a wide range of genres, so it can depend on what style I want to work with during that time. Portrait photography has always been a part of my work. I love engaging with people so I have always found a way to include subjects where possible, I like to create narratives within my images. I have also found that viewers can often engage and relate more to images when a subject is present. However, since studying photography at university I have found myself working a lot more closely with landscape, which is a dramatic change for me but also very exciting.
Tell us about your photography in CUT TO [compilation]
The image in the magazine titled ‘Fixation’ was a group task (myself, Victoria Cook, Ross Buresh and Chloe Dennett) set by our course. It involved working with the Photo Cinema. This was a genre I hadn’t worked closely with before, but was something I found extremely interesting. As a group, we researched photographers such as Jeff Wall and Gregory Crewdson. I then considered the work of director Pedro Almodovar and the film VOLVER (2006) in particular. Working closely in the studio with mysterious scenes, dramatic colours and lighting meant I was able to capture a scene which narrates this idea of obsession mixed with mystery and fixation. For me, the idea of engaging the audience was crucial, I felt using the mirrors created that extra mystery and dramatic tension leaving viewers wanting to know more about this scene.
Where can we see more of your work?
I have an Instagram account - ellacousinsphoto - and website www.ellacousins.com