The Zebra Monochrome Magazine Issue #1 The Zebra Monochrome Magazine Issue #1 | Page 88

Your work is quite diverse, what would be your
expertise? And what would be your favorite
subject matter and why?

there will be a resemblance….regardless of how
significant or insignificant. I guess you can class
it as a watermark within that image…

My work is quite diverse, but over the past 20
years as a professional it has been the challenge
of different locations and shoot briefs that have
challenged me to be diverse. I would not say
that I am good at everything, but I certainly have
learned to take reasonable risks in shooting
styles and looking at it today it has certainly
paid dividends.

Was it hard to break into the world of
commercial photography? Might you have any
advice for anyone who would like to dabble in
this?

A perfect example, is as a child I was terrified
of heights. Today I have over 150 hours of aerial
shooting under my belt. I feel very satisfied.
I find that most of my commercial work
involves the shooting of Landscapes, People
and Industrial.
Do you have time to do personal work? Or take
time out on a commercial trip to do personal
work?
I have always made a point to take time out
after commercial shoots to take in some of
the local scenes. This is where I can continue
with my personal pursuits such as interesting
landscapes and striking faces.
I touched on this in my previous comments,
that I have been extremely fortunate to have
traveled the world, I certainly have made sure
to record this in my personal works and it also
reflects well in as travel record.
I think sometimes to shoot something on a
personal level directly after a commercial or
commissioned shoot, helps keep me grounded
as to who I am and what keeps me visually
driven.

Looking back at my door knocking days, I
never thought about being a commercial
photographer. The only thing that I had firm in my
mind was to present the best shots and variety
in my folio at all times. Being completely at ease
and honest with yourself that what you present,
I could photograph for anyone at anytime with
complete personal and technical confidence
under a variety of working conditions.
I have worked with many assistants all over the
world, I can recall one in Cape Town who took
at least 10 light meter readings of a flash setup
and still looked at me and said the readings
were all different and not sure what the correct
reading was!!
My only words to him were, take one reading
and believe in yourself that your set up is right
!! The other 9 readings were not going to assist,
but definitely confuse…
Today that same assistant is a successful
photographer in his own right.

Do you think it is important as an artist to have
personal work along side commercial work?
Yes definitely, I think it’s a great way to show the
versatility of being an image maker. Somewhere
in the commercial and personal executed shots,

© Scott Gilbank http://www.scottgilbank.com/