This is the first of a series of interviews with photographers that have either won or placed highly in the Travel Photographer of the Year photography competition. I recommend you check out their website and also their online magazine Travel Shooters, aimed at anyone interested in travel photography or photojournalism.

Jordan Banks’ portfolio ‘Insight’ was highly commended in the 2007 competition. I asked him some questions about his work:

How would you describe your photographic vision? What kind of look/atmosphere/feel do you try and create in your photos?

Starting me off with a hard one!

My photographic vision is constantly evolving as different people; places and especially age influence me. The only constant in my photography seems to be my desire to try and evoke real emotion. I aim to try and make people see what they otherwise may miss, from the continuity in every day lives to the underlying symmetry between people and their surroundings that is present everywhere I look. Sometimes this comes across in such an obviously beautiful way that anyone can appreciate it. Other times it is a little more subtle. These are the images where the viewer has to look a little deeper into themselves to see what I am trying to portray. These images can be grittier, harsh or even ugly. They tend to be only appreciated by the few. When someone gets what I got from the moment and truly appreciates it, I know my vision was appreciated and may even change how people continue to look at the world and their surroundings.

When did you start taking photos? What made you decide to become a photographer?

I started taking photos at about age 16.

For years I just flirted with photography until I finally realized that I had fallen in love with it. I don’t really think I decided to become a photographer, it just happened and continues to do so. Sometimes in life something just finds you and no matter what you do you cannot escape it. Not that for one second I have ever wanted to. Its rules my life and probably always will.

Name three photographers you like and why. Who inspires you?

James Natchway - The best photographer to have ever lived. I challenge anyone to look at his images and not show some sign of emotion. I have even seen people laugh at it. If he can provoke a reaction like that from his work he is truly drawing on people’s emotions and feelings.

Peter Adams - I am not sure how many people know of Peter Adams and some may think this is a strange choice. I have never met him but his work has had a huge influence on me. I can’t really put into words why.

Henri Cartier-Bresson - “The decisive moment” is something every travel photographer should understand.

Tell us a little about the book of photos of Cornwall that you’ve been shooting. How did you obtain the commission, and what lessons have you learnt during the shooting and publishing process?

A gallery owner who had seen my work and wanted to know if I would be interested in putting together an exhibition together on Cornwall contacted me. Of course I jumped at the chance. From there things just spiraled out of control, we got on well, a few beers and trips to Cornwall later, we are in talks about a commission for a book. It all happened really fast, apart from actually finishing the book. Neither of us was or is in any rush to complete the book and everyone is very understanding of this (very strange). Every time we think we are nearly done we go out shooting and come back with another image that needs to be added, meaning we have to choose an image to leave out. In all honesty I am not sure how long it will take to complete. I guess sooner or later the moneymen will tell us to just go to print and that will be that.

Your ‘Insight’ portfolio was highly commended in the Travel Photography of the Year competition 2007. How did this affect your career? What doors did it open for you?

This was one of my greatest achievements; it is a competition that I really want to win so I was happy with a highly commended portfolio and I am still young so there’s time to win.

This has really helped my career, not financially directly but with exposure (like this interview) and in the end that is all I really want from my photography, for people to see it and hopefully appreciate it.

I believe that you moved all your photos from the stock agencies they were with to Alamy last year. Why did you do this? What changes have you seen in the stock industry over the last few years and where do you think it’s headed in the future?

I really moved them to Alamy to allow my images more freedom. Only time will tell if this was a wise or stupid decision.

As far as changes in the stock photography industry go I am not really the best photographer to ask as I haven’t been doing it as long as some of the guys out there. I guess I would say the same as everyone else, which is that there is a lot of crap being produced and sold cheaply. When I look through the magazines that purchase the type of work I produce they do not seem too bothered about technical quality as much as they used to. It seems that as long as the image has a high enough resolution, the price is right and the image has something to do with the article they are happy. I don’t blame the magazines they are in business and feeling the pinch like the rest of us.

As for the future of stock photography I think you need to get with a big agency with high standards, have a large body of work and don’t rely on it. Look for commission work and other sources of income.

You recently spent 20 months in Central America. What was your motivation for the trip and how productive was it for your career and photography? What did you learn from the experience on a personal level?

I had been planning to go and live in Guatemala since I was 18 but was always too busy doing something else. Why? It had always just fascinated me and I love Latin America culture and its people. I would still be there if I wasn’t in love with my girlfriend.

Guatemala changed my outlook and perspective on life, which was fantastic though more importantly it gave my photography the chance to refresh itself. I was immersed in a one of the most vibrant cultures on earth and given time to appreciate it and work at my own pace. I once spent 13 days revisiting a plain green wall with the words “Dios te ama” (God loves you) written on it. Alone the image was nothing but I knew it had potential. I kept returning until finally there was an elderly man sat in the opposite corner from the sign. Old, weathered and head in hands, perfect. I took the image and it is still my personal favorite. I very rarely, in fact never have I had the chance to revisit the same location so often waiting for the perfect image. I think that says it all about the motivation and experience of my Guatemala trip

How do you get so closely involved with the people and communities you photograph? In my experience they can be hostile to strangers with cameras. How do you overcome the initial distrust?

I am not sure exactly what I do that allows me to get so involved with the people and communities that I shoot. I guess it is as simple as approach with a smile and respectful manner and hope you give off some positive energy. A pretty assistant will always help if all else fails.

What are the three most important qualities that a travel photographer needs to succeed in this business? What advice would you give to an aspiring travel photographer at the start of their career?

1.            A good head for business. Photography is a business after all. Learn this and you’ll be alright

2.            Keep ahead of the trends and if possible try to create them.

3.            STUDY. Take pictures all the time, learn from them and your mistakes and when not taking pictures read books about photography and look at other peoples work.

Where is your photography going? What future photographic project or projects are you excited about?

I have commissions and trips planned to Albania and Libya this summer and a return to South East Asia for winter.

I have recently opened a wedding and commercial photography company. I have to pay the bills and feed my family just like anyone else. As a photographer I think you need your fingers in as many pies as possible. Photography is a very competitive business so you need to make money through any avenue you can.

I am also collaborating with war photographer Wade Goddard and the War Photo Ltd gallery in Dubrovnik, Croatia to run courses on travel photo journalism throughout the former Yugoslavia.

Finally I am in the very early stages of creating a stock library/agency that will represent a select few travel and documentary photographers with its founding members having equal say as to which photographers work is accepted or declined. A place where clients can come and know they are going to get the highest standard and quality of photography available.

Links

www.jordanbanksphoto.com

www.source-images.co.uk

Contact Info

Tel: (UK) +44(0) 7810 714 400

info [at] jordanbanksphoto [dot] com

info [at] source-images [dot] co.uk

Photos

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Here are some of my favourite travel photos from the last few months or so, and the stories behind them.

I saw these angel ornaments for sale in a church (La Iglesia y Convento de la Merced - I think) in Antigua, Guatemala. Guatemala is a very colourful country. I liked the colours of the angels and the texture of the wall behind them.

Recoleta Cemetery in Buenos Aires, the capital of Argentina, is one of my favourite places to take photos. Every time I go I see something new. It looks especially magical in black and white.

I was walking around San Juan del Sur, a small coastal village on the Pacific Ocean in southwest Nicaragua. I walked past this house and the girl with the purple top pulled faces at me when she saw my camera. I asked if I could take their photo.

The Salinas Grandes in northwest Argentina are enormous salt flats high in the Andes. The salt is excavated by Quechua workers, local indigenous people descended from the Incas.

I like the bright colours of tropical places. I saw these blue, red and gray tiles on a doorstep in the town of Rivas in southwest Nicaragua.

Central Park in autumn is a wonderful place to take photos. There’s a famous black and white photo of this ice rink and I wanted to see the location for myself. I love the way the skyscrapers are so brilliantly clear in the cold autumn air.

I came across this old car in the village of Puerto Chivica in Bolivia. The village is very remote and located on the edge of the Salar de Uyuni, the world’s largest salt flats. I don’t know why the tyre is covered, perhaps to protect it from the harsh weather.

My girlfriend Lili trying on traditional clothing in Antigua, Guatemala.

A table and chair in a coffe shop in Santa Rosa de Tastil, Provincia de Salta in Argentina. We stopped in the village on our way to the Salinas Grandes, on an organised excursion from the city of Salta. Life in these remote Andean villages can be simple and basic, but peaceful.

Sports day for schoolchildren in Tupiza, Bolivia. The day was part of a series of sports events organised by the country’s president, Evo Morales, to protest at the FIFA ban against world cup qualifying matches at high altitude. He wanted to prove that sports like football can be played at high altitude. Tupiza is nearly 3000 metres above sea level.

These photos are available for licensing from Alamy and PhotoShelter.

 All photos Copyright © 2008 Andrew Gibson