Stephan Small
Interview • April 28, 2021 by Scott Marlin, Photography by Stephan Small
“From photographers’ eyes, we always look at the whole photo, but everyone else looks at the subject. As a photographer, the interaction and setting you provide your subjects is key. ”
Stephan Small has been an artist-to-watch on the Flash Punk radar for a while now. His raw, fashion-forward portraits have graced art magazines, newsprint, culture sites, and social media.
A unique brand of cheeky fun works at the center of much of his photography. But beneath the glitz, there’s a subtlety to his manner, framing, and eye for scene-building details.
These days the Manchester-based photographer and stylist finds himself, well, busy. With reopening on the horizon in the UK and a steady churn at Off the Rails Magazine—where he serves as staff photographer—creative opportunities abound.
We were lucky enough to share few minutes with Stephan for a conversation about working with models, growth as an artist, and how bringing a business mindset to his creative work has kept him grounded.
Welcome to Flash Punk, Stephan. Thanks for speaking with us. To start, I think I read somewhere that music led you to photography. How did that unfold?
Yes, this is true. I used to make beats in my bedroom. I started putting material online and getting noticed, and then I began working with a collective of musicians. Looking back, I probably felt then that it just wasn’t my calling. My interest eventually drifted to the point where I stopped producing entirely and started volunteering to take artist portraits, and this is what led to me taking photography more seriously. It’s a longer story, haha.
So, then, how did you make the leap from shooting with friends to working with agency models and brands?
Man, it was so organic. I did my first shoot with a girl who went to my gym. I styled it and everything. It did really well on Instagram. Well, like 20 likes. Which for me back then was a game changer, lol. Basically from there models and agencies just started contacting me. It all happened really quickly.
“When I do shoot digital I’m always trying to replicate the film aesthetic. Anything over-edited or too clean just puts me to sleep.”
When you picked up a still camera, it was film, then? That must have left a strong impression on you.
To be honest, when I was a kid my mum always gave me disposables when we used to take trips to New York. However, when I found photography again as an adult it was all digital.
The turning point was when someone gifted me a film camera and that was it. It changed my world after four failed attempts. I just didn’t know what I was doing. I remember, I kept opening the camera door to check that the film strip was winding — fail!
Digital is a requirement for commercial work, but film is where I really thrive and get most of my inspiration.
Even your digital stuff has a very film-like quality to it. Is that intentional?
Absolutely! I find digital so boring. So when I do shoot digital I’m always trying to replicate the film aesthetic. Anything over-edited or too clean just puts me to sleep.
I just like the simplicity of film and applying that approach to my digital work. Where I can, anyway.
When you’re on a job, what makes you reach for analog over digital, or vice versa?
I find for commercial work clients don’t want to take the chance on film. When you think about it, there are just are so many more variables that can go wrong with film. So I’m generally led by clients’ expectations. However, I do think it’s true that pretty much everyone prefers how film looks, and it’s been gaining more ground. Of late, the majority of my clients have actually been requesting film alongside digital.
“In some ways, I say I’m an art dealer or a content supplier because ultimately I’m delivering a product.”
One thing about your work is that it goes beyond pretty pictures of pretty people. Often, you’re illustrating an attitude, energy, or approach to living. When you’re planning a shoot, what are the guidelines you follow to push your work to that level?
I feel like from photographers’ eyes we always look at the whole photo, but everyone else looks at just the subject. As a photographer, the interaction and setting you provide your subjects is key. The big things are making sure they are comfortable, treated with respect, and most importantly the communication is flowing.
What’s your favorite, medium format or 35mm?
35mm. I’ve only recently starting shooting 120 film. I’ve enjoyed it, but I think it’s a bit too technical for me.
“When you first start as a photographer, you focus so much time on the art and the photos that you almost forget about everything else: how much it costs, what’s the outcome or purpose.”
Color or black-and-white?
Both!
Kodak or Fuji?
Kodak all day.
Favorite focal length?
All of them.
What do you prefer during a shoot, lively conversation or music?
Both communication and getting to know people is essential. Music wise I always let models choose so it usually ends up being anything from funk, rock, rap to house music. Anything lively that gets everyone feeling good.
What’s one hard-won lesson—something you wish you knew when you were starting out—that would have helped you overcome some of those earlier stumbling blocks?
I think being too nice and giving my time to jobs, ideas and people that didn't value my time or my work.
Interesting. Would you say that, you’ve learned to take your time to get to know a person or project a bit better before investing your time?
Absolutely. When you first start as a photographer, you focus so much time on the art and the photos that you almost forget about everything else: how much it costs, what’s the outcome or purpose.
For me I fell into this, so I had to develop those skills on the fly. That saying “work smarter not harder” couldn’t be any more relevant to my journey.
In some ways, I say I’m an art dealer or a content supplier because ultimately I’m delivering a product so I need to understand my clients.
Most of the time when I get booked, people want me to recreate something I’ve already created. Which then opens an opportunity for me to make suggestions and give my input.
I feel it’s really easy to gage when someone wants your aesthetic and trusts your creativity or when they just want to hire a photographer.
I think the relationships that move you forward are built with trust and results.
What’s one area of photography, visual media, or fashion, that excites you and that you’re still learning more about?
To be honest all of it excites me. I think I would like to start experimenting again with street style. As this was how I started out.
About Stephan Small
Stephan Small is a freelance commercial and fashion photographer, as well as the staff photographer for Off the Rails Magazine. Based in England, his work has appeared widely in publications including C-Heads Magazine, Rebel & Co., Resuer Magazine, Another Filthy Magazine, Rekt, Sticks and Stones Mothership, theManchester Evening News, The Sun and Daily Star.
More like this…
