John Mahoney Interview

Photography within Graphic Design

As a graphic designer I find that photography is an effective and inventive way of creating something that is a suitable solution for a brief. I can express a mood or create an environment visually that is real and convincing. I then add typography and other graphical elements to create the final piece.

There are many famous long-term partnerships of graphic designer and photographer such as Vaughan Oliver and Sam Larbalestier, Peter Saville and Trevor Key.

I am interested in the working relationship between a graphic designer and a photographer: how they work together, overcome problems and find compromise to produce imagery and combine typography to create something that feels ‘right’.

1. Can you describe the power and visual impact that a photograph can have and how you use this for your designs?

The impact gained from any image is relative to its applicability to the overall scheme of communication put forward by the art designer

2. Are there any up-and-coming designers/photographers that you keep an eye on and would like to work with in the future?
A student Wayne Marsden, Graduate of BA Graphic Design 2010. Has promise with a very good portfolio

3. As a graphic designer do you think it is important for you to be directly apart of a photography shoot for a project?
No, not necessarily. It is always best to work with people you can trust to create an image which is right for the job whether one is present or not

4. How is the decision reached to use photography as a solution for a brief?
Based on the creative solution agreed between client and art director. A solution can be illustrative, typographic or image based

5. When we met the other day you had brought a variety of photographs that you had taken yourself to use in your work. Do you prefer to do our own photography or is there a photographer that you prefer to work with for a brief and why?
To be honest, the majority of work I do is in the visual arts area, work for Tate Liverpool, Bury art gallery etc. With these clients, the images are existing artworks. Producing original photography for an arts client can be costly and eat into an already small budget. I like taking photos for my research to collect images at speed to form a subconscious pattern of my visual practice.

6. As well as a technical skill, does a photographer bring any creativity to a solution? Does your original vision evolve when a photographer is involved?
Absolutely, Photography is an art form. Creating a project with a photographer is in my case a two way collaborative project. The image can evolve as the creative process develops

7. When working with a photographer do you already have an idea about typography and any other graphical elements?
Yes, people work with me based on my visual aesthetic, so I will usually produce some type treatments beforehand, which can develop sometimes following a photoshoot.

8. If you weren’t able to get the photographer you wanted for a brief would you settle for another photographer and perhaps scrap/adapt your original ideas?
Probably re focus the idea, if a client wanted a specific image maker who was not available, then a rethink could be done

9. How do you approach colour in your work and when working with photography?
Colour usage must be deliberate, ie sympathetic, or antagonistic to create the appropriate mood

10. What are your thoughts on using found photography for a brief and changing its original meaning by adding graphical elements such as type?
It can work sometimes, however one must get clearance from the photographer at all costs. I find its best to create original images.
For example, the IRN-BRU billboards that use old, black and white stock photography with type added to change the photographs original meaning.

11. Do you have a particular favourite piece of work by yourself that successfully combines typography and photography and why?
Making IT, A project I created for Tate Liverpool. The gallery held an exhibition based on sugar, as Tate and Lyle were a major benefactor for the gallery. I made the words “Making It” in metal. I them worked with the Gallery photographer, photographing the metal into a vat of molasses. The image was a still moment of the molasses pushing through the metal

12. Have you embraced the digital era? Do you still use traditional, more time-consuming methods when using photography?
Images can be created with anything, however I think physical film in a manual SLR produce the best images.

13. If you have worked for the music industry, created the artwork for an album cover for example, do you try to expand upon the music and how effective do you think photography is for this?
It’s vital, really. Look at the cover of Low Life by New Order. The images are of people who really don’t want to be photographed. Also the cover of Exile on Main Street by the Rolling Stones uses a Robert Frank image, a snapshot of Americana from an outsider, which is what the stones were.

14. Can you describe in detail a project that you have been apart of that used photography for the solution?
I think the making It project I mentioned in question 11 answers this

15. Are you interested in working more with the moving image? Have you ever or ever wanted to direct a music video or television advert for example?
My research uses flash animation, so I will be using motion work more, as for directing an ad or a video, I would work with a colleague in the field with more experience than me!