As a seasoned photographer who’s had the privilege of working with giants like Google, ESA, and others, I can confidently say that my journey has been nothing short of exhilarating. The thought of conflict or reservations about my work? Never crossed my mind! Each project, whether commercial or personal, presents its unique challenges, which I relish tackling head-on.
In a surprising way, Alastair Philip Wiper‘s photography showcases charm within the ordinary settings of factories, laboratories, and industrial facilities. His images expose the hidden aspects of symmetry, texture, and color that lie beneath their practical facades. Rather than portraying these spaces in a glamorous light, Alastair highlights their inherent beauty, revealing an unexpected sophistication that is often overlooked by many.
Over the span of more than 12 years, a British photographer has journeyed across the world, photographing an array of subjects ranging from wind tunnels and footwear testing equipment to factory settings producing razor blades and sex dolls. His work transcends industrial photography’s traditional role as mere documentation, infusing it with both technical precision and a whimsical perspective on composition.
Influenced by fashion photographers such as Jean-Paul Goude and Guy Bourdain, Alastair applies a daring, innovative perspective to his industrial subject matter. He skillfully employs sharp lines, symmetry, and dramatic layouts to transform ordinary settings into compelling visual tales. His photographs of factories and laboratories reveal them as alluring, intricate landscapes that encourage viewers to reassess their connection with the tools and mechanisms defining contemporary life. Alastair recently gained access to Nike’s headquarters in Oregon, capturing previously unseen spaces like the archives and research departments. These unique images will be showcased at the Nike: Form Follows Motion exhibition opening at the Vitra Design Museum on September 21, 2024.
In our ongoing Through the Lens feature, we had the opportunity to chat with Alastair about his artistic journey, his passion for industrial landscapes, and his recently published book, titled BUILDING STORIES, showcasing an exceptional array of architectural photographs.
“I was super into film and music and art, but had never thought about doing anything with it.”
Where are you currently based, and what’s your studio like?
I reside in Copenhagen, having lived here for two decades. My studio lies right smack in the city center; I like to describe it as an artfully disorganized space. It’s got just the right level of clutter! Despite its petite size, it comfortably accommodates still-life photography shoots, but you wouldn’t be able to fit a car inside. Additionally, it doubles as my storage area, filled with images leftover from past exhibitions.
Could you tell me about the creative environment that shaped you growing up? Did you get exposed to photography at an early age, and do you have a cherished childhood memory associated with it?
My childhood wasn’t particularly nurturing for creativity. Instead, after studying philosophy with politics at university, I embarked on a diverse journey. I spent time as a traveler, worked as a ski bum, cooked as a chef while traveling due to my passion for food, and took on numerous odd jobs. Despite my love for film, music, and art, I had never considered pursuing anything creative.
I don’t have many vivid childhood photography memories, just some holiday pictures. My mom had incredible albums chronicling our lives, but I struggle with organizing my own photos and always feel guilty about it – I promise I’ll catch up eventually. My grandfather was an avid amateur photographer, and when I took up photography myself, I stumbled upon a box of his old camera equipment that I began using. So, in some sense, you could say that photography runs in the family.
What inspired your focus on architecture, industry, and science in photography?
In the late 00’s, I functioned as a graphic designer for Henrik Vibskov, an artist and designer. Since they didn’t have an in-house photographer, I seized the opportunity to capture all the lookbooks and shows using a camera. This sparked my interest in photography, leading me to establish a darkroom at home, collect vintage cameras, and engage in numerous experiments.
Have you explored other photography genres? What led you to shift focus to your current themes?
Initially, my focus was on capturing fashion images, but found it lacked sustained interest. Subsequently, I developed a passion for gritty, vintage black-and-white film photography and street scenes, yet understood the challenge of earning a livelihood in that field. However, when I stumbled upon industrial photography, I could envision an entire lifestyle ahead – traveling globally, witnessing extraordinary sights untouched by many, and gaining a wealth of intriguing knowledge.
Where do you find inspiration? Any photographers or outlets you frequently revisit?
Initially, I examined the work of other industrial photographers for inspiration. However, I soon understood that I needed to develop my unique style rather than following their paths. My goal was to infuse these industrial settings with color, liveliness, and a touch of humor, creating a fantastical atmosphere. In terms of visual influence, I admire fashion photographers like Jean-Paul Goude (known for his iconic Grace Jones album covers) and Guy Bourdain, who use vibrant colors and unconventional compositions to create something both seductive and peculiar. Additionally, authors such as Roald Dahl and H.G. Wells serve as continuous inspiration, and I aspire to blend their imaginative worlds with my industrial subject matter to achieve satisfaction.
As a gamer, when I’m striving for a neat and symmetrical frame, here are some techniques I find helpful to maintain that compositional precision:
Nothing special – just placing the tripod in the right spot, making small millimeter adjustments until it is just right. Knowing where to place the tripod comes fairly intuitively.
“Some places you would think would be hard to access are surprisingly easy.”
How difficult is it to gain entry to tightly secured locations such as nuclear bunkers or sex doll manufacturing facilities, for the purpose of my photography sessions?
Not all locations require a lot of effort; some can be surprisingly accessible. Now that my resume is strong, people tend to give me more consideration when I reach out. Places like CERN or the National Ignition Facility might seem challenging to access, but they’re actually surprisingly easy – they are publicly funded and want to demonstrate to the public what they achieve with taxpayer money. If you can prove that you are a serious journalist, they will consider your request. However, companies can be more resistant; they don’t have as much incentive to let me in. I’ve been trying for years to gain access to a chocolate factory on the outskirts of Copenhagen, but so far, they haven’t been cooperative.
What has been your most challenging project? How did it compare to others in terms of difficulty?
In most instances, my photo shoots tend to proceed fairly well without many hiccups. However, I usually don’t have a clear idea of what to expect until I arrive at the location, which is something I’ve grown accustomed to. The main risk is discovering that a place isn’t as thrilling as anticipated. The most challenging shoot I’ve experienced was one for Google on a wind farm in the North Sea. We rented a unique maintenance boat to transport us there, a couple of hours offshore, which came at a high price. Our team was quite large, including video, drone, and other equipment. Working on the boat amidst the strong waves of the North Sea was difficult for everyone, and then my cameraman succumbed to severe seasickness. He began vomiting everywhere and lay down moaning on the floor. The captain warned us it was serious enough that we needed to return to land, refuel, and set out again. Since we hadn’t even started shooting yet, I wasn’t sure if we would make it back before sunset, so we were in a race against time. It took a long time, and we had to pay for all the additional fuel, making the situation extremely stressful. However, we persevered, managed to capture stunning shots as the sun set, and made it back safely.
“These days I shoot with a Fuji GFX 100s and zoom lenses.”
What’s your go-to photography gear? Any favorite camera, lens, or settings?
Currently, I’m using the Fuji GFX 100s with zoom lenses, which has revolutionized my photography experience. This camera offers 100 megapixels in a compact, durable body that also excels at video. Previously, one would have to pay a fortune for a Phase One or Hasselblad with similar specifications and a significantly less user-friendly design. I opt for zooms as I dislike swapping lenses during shooting and find the quality more than sufficient for my needs. I adjust numerous settings according to whether I’m using flash, a tripod, or a mix of both.
“Could you tell us what specifically draws you towards certain brands, such as Nike and Adidas, when choosing them for commercial collaborations compared to other options?”
It’s always great to work with brands that take pride in producing high quality visuals, so that I know that they will get the most out of the pictures. I’m fortunate enough that I usually get hired to do my thing, with little creative direction, so I am always happy when I am hired because they want me rather than just because they need any old photographer. That said, I love it when creative directors challenge me to do something in a way I’m not used to doing it – they can see it will work with my style – and I get to try something new. I always like to be challenged, I don’t want it all to be too easy.
As a seasoned gamer who’s had the privilege of diving into the intricate worlds created by tech titans like Google and the ESA, I must admit there have been moments when my professional path has crossed with ethical quandaries. I often find myself pondering about the impact of these projects on the gaming community and beyond. In terms of approach, while my personal work might be more spontaneous and free-flowing, these collaborative projects require a more strategic, thoughtful, and respectful approach to ensure we’re delivering the best experiences for our global gaming audience.
I’ve never had any doubts about this; I’ve relished every moment of it. I consistently approach all my assignments with a similar mindset – while clients occasionally have particular preferences, these seldom clash with what I want to achieve. I take great pleasure in commercial projects – I appreciate the vibrant atmosphere, I appreciate having a larger team, and it’s gratifying to be compensated well for my expertise. I believe that the skills I acquire on commercial shoots are beneficial for my personal work. I adore the blend – I’m not sure how content I’d be if I were solely an artist, creating work without specific requests. Commercial work gives me more freedom with my personal creations. Often, commercial projects provide me with access to locations that would otherwise be inaccessible (for example, Google data centers are among the most secure places globally, and they don’t allow anyone, especially not with a camera, laptop, and hard drive) and I usually have the privilege of using my commercial images in my personal projects, which is convenient.
Tell us about your latest book, BUILDING STORIES. What subjects does it explore?
The compilation titled “Building Stories” consists of photographs I took of buildings I’ve captured around the globe over the past ten years. Each image carries a unique, eerie ambiance, as if a crime is imminent, and I often envision these structures with their own distinct personalities. Spanning from the childhood residence of Steve Jobs, to the late Albanian dictator’s bathroom, to clandestine government research facilities developing nuclear weapons. You can acquire it, along with my other books and prints, here: https://alastairphilipwiper.com/shop
What are your thoughts on contemporary photography? Any advice for emerging photographers?
Over the coming years, AI is expected to evolve significantly, surpassing its current capabilities of creating amusing content. This development could bring benefits to many while potentially posing challenges for others. On the whole, I remain generally hopeful about its future.
As an enthusiast, I’d like to share some insights with fellow budding photographers: Follow your passions when selecting subjects for your lens, as the art of photography often unfolds naturally from what truly intrigues you. Photography serves as an enlightening journey into the world, allowing you to delve deeply or even skim the surface of topics that ignite your curiosity. Building meaningful relationships in this field requires time and patience, a gradual process that is undeniably worthwhile when it enables you to make a living from something you love.
What projects are you working on now, and where can our readers find more information?
I have a few things coming up – I’ve just been over in Oregon, photographing behind the scenes at the headquarters of NIke – the archives, the research and development departments, places that no photographer has ever been. The images will be part of the exhibition “Nike: Form Follows Motion” which opens at the Vitra Design Museum on 21st September.
Apart from what I’ve already shared, I’m also engaged in a couple of extended endeavors. One is titled “How We Learned to Stop Worrying,” inspired by the classic Stanley Kubrick film Dr. Strangelove; it delves into various understandings of the term ‘nuclear,’ encompassing weapons, energy, culture, and medicine. The other project, entitled “Flesh,” examines aspects like birth, death, industrial practices such as slaughterhouses, medical procedures, and anything else related to the human body. I’m yet to determine a completion date for either of these pieces; keep an eye on my website and Instagram for updates.
All photos courtesy of Alastair Philip Wiper for Hypeart.
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2024-09-11 17:56