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Matt Oliver
I've been a professional photographer for the past 20 years and enjoy the Landscape as a balance to my day to day commercial work. Living on the edge of the Peak District allows me time to explore the beautiful countryside and what this stunning part of the UK has to offer.
Tim Parkin
Amateur Photographer who plays with big cameras and film when in between digital photographs.
Matt's work has reminded me of many days spent with friends (and alone) in the birch woods of the Peak District. It's a particularly beautiful and accessible place with a lot of history. I was interested to see how he interpreted the peculiar connection of the rock, the woodland and the history and I think he's done a really nice job. I sent Matt a few questions about the project and he kindly responded at length as you will see here. The Peak District should hold a place for everyone with a passion for the landscape as the birth of the access movement and this transition from quarry to national park is a key aspect of that progression. Thanks Matt!
Could you tell us a bit about your love for landscape photography, what your early passions were, what you studied, and the career path you ultimately pursued?
I fell in love with photography after taking GCSE art in my last two years at school. Quickly finding out that I lacked any talent with brush or pencil. In the back of the classroom was a darkroom. After seeing one of my terrible images appear in the developer tray, I was hooked by the magic. Deciding I wanted to make photography my career, led to studying for a further 4 years, working for various studios as a (very underpaid) assistant, and eventually setting up my own studio in December 2000. Two years of my studies where in Sheffield, this is were I began to practice landscape photography.
Around 1993/94 I remember trips out to Padley, amazed by this rugged landscape, and twisted trees. In younger days, I also remember the same area from walks with my Dad on weekend trips. Throughout my life, and now later reflecting, I've realised this whole area has given me lots of enjoyment and so many different memories. Growing up has coincided with the changes in this landscape. It's now fundamental to me as a person and a photographer.
I now live just a stones throw away from where I studied 30 or so years ago in Sheffield, just a coincidence, and certainly wasn't planned…It does feel like I have come full circle.
You are a commercial photographer, too and have a studio based in Nottingham. Has your commercial work influenced your style and approach to photography?
In many ways, I have a different approach to each discipline. Commercially, I am often working to someone else's vision or brief and then putting my take on this to achieve what is required. Time is always a pressure, never enough, of course, so the day-to-day can be stressful. Landscapes on the other hand, I try to remove the stress and pressure. Although not always successful, this is something I constantly try and improve on. The outdoors is my escape, something I cherish, so enjoying being out is really important. Again, there is never enough time.
The overlap between the two disciplines is using light. Observing light in the landscape has 100% influenced my commercial work. It sounds obvious, but it's a constant learning curve, even after all these years. Where you stand in relation to the subject in the land is as important as to where you place the light to photograph an object. Subtle movements and placement have huge differences.
Reflecting on your images over the 28 years you’ve been a commercial photographer, what do you think the biggest change in your work has been?
To simplify. In my early days I would definitely over complicate things, way too many lights - 5 or 6 flash heads, is now 2 or 3. Trying to make images appear more natural.
Observing light, especially in nature, has led me to try and improve how I use light in the studio and in the landscape.