Pro Showcase Johnny Carra certain way... no interference! It was based on trust,
your ability and the dynamic between photographer
and model. You would shoot a Polaroid, then, with
your four or five film-loaded backs (ten shots per
roll), fire away. I’ve recently started shooting some
personal projects on film. You have to be much more
precise and considerate before pressing the shutter.
Do you make a distinction between professional
and private work?
It’s hugely important to shoot personal work. I’d go
nuts if I didn’t! Creative directors – usually the
commissioners of my work – tend to be much more
interested in my personal work than the commissioned
projects. They want to be reassured you can do the
commercial work, but really, they want to see what
makes you tick.How much creative control do you get, or does this
vary from assignment to assignment?
It really depends on the client. I shoot for ad agencies,
recruitment companies and some direct clients. The
agencies have their in-house creative team, so they
become very specific about their needs – in effect,Above Johnny’s
‘People & Places’
project includes
this fascinating
view of Venice.Below Miners
from the Hatfield
Colliery near
Doncaster, shot
on 10x8 Polaroid.PraCTICalPhoTograPhY.Com 57