After studying fashion at the London College of Fashion, London-based fashion photographer Darrell Chandler conceived his own clothing label, “Undercurrent,” in 1998, for which he was solely responsible for the creative direction of the brand. Through this, he worked closely with multiple photographers daily before eventually deciding to take on his own personal photography endeavors.
How long have you been a photographer?
I have been a photographer for around 10 years now. I studied photography and then assisted close to 30 different highly prolific photographers in London that allowed me to build upon my experience and understanding of lighting technique and photographic practice.
What did you go to school for?
I studied fashion originally at London College of Fashion and then went on to study at Central St Martins College of Art and Design. Always fascinated with the process and communication of art, I identified with fashion not only as designer, but as an individual.
What were your specific responsibilities at your previous job as a fashion designer?
My previous responsibilities ranged from design, overseeing sampling and manufacturing to collaborating on print wear, meeting with customers and clients alike and sourcing key fabrics globally. Working with photographers at the time (which included Rankin and Amber Rowlands), I saw incredible value in the photographers’ ability to capture key collection pieces expressively with focus on defining points of interest. In addition to running my own label successfully for several years, I worked on projects for other notable brands including the high street brand Topshop.
What drew you to the photography industry? Did you always know you wanted to be a photographer?
Actually, I think I wanted to be a photographer from the moment I started to take it seriously around 8 years ago. Before this time I’d always taken an active interest in photography and was able to identify with it as an art form. I exhibited my work in a gallery space on Portobello Road in London upon my return from a planned photographic trip around the world. At the time I was concentrating on shooting sports imagery, portraiture and documentary.
How did you get started once you made the decision to switch?
I took me several years to really begin to understand photography beyond taking pictures, I spent time reading about photography and the work of select contemporaries. I explored the meaning of the photographic image and found myself identifying positively with the philosophy of Victor Burgin (amongst others.) My interest led me back to college where I studied photography at the London College of Communication.
Were there any challenges with the transition to full-time photographer?
Yes. I have recently relocated to the US, hence the need to build my client base internationally. I guess this is what I’m aiming to achieve in part through Wonderful Machine!
Do you feel that your previous career has helped you at all in your photography career?
Yes, I have a deep appreciation for fashion. Educated as a designer, I understand how clothing works and how it is constructed. I know how it fits, or can be fitted. I understand stylists and how they work. I have introduced an agenda in my understanding and (graphical) visual elements beyond ‘photography’ into my work.
Are you glad that you made the switch?
I love the work and production value that goes into creation of the polished image. I like to call my photographic work ‘counter disposable’. So much photography is disposable these days, the advances of the digital age has brought about a world that is saturated with imagery. Is this a bad thing… not necessarily, it just means that the polished photographic composition has to be more arresting and challenging, more significant in placement and more advanced in composition.
What kind of projects have you worked on as a photographer?
I have worked with some great clients on some great projects over the past 18 months. These include Warner Music Japan, Tomato, OysterMag, XXXX Magazine, The Royal Academy of Arts, Kim Kwang, Moxham, Mixmag Magazine, Nancy Van Ostren, Stephane Rolland Couture and Noi.se Magazine to name a few. More recently, I have invested a lot of time working on personal projects. I never stop shooting and I’m always thinking about new ways to capture and work within the context of photographic practice.
What would your advice be to others looking to switch from different careers and become photographers?
I think people choose photography as a career due to its accessibility. Digital photography has made it easier to be a photographer, however, it’s actually harder professionally as a photographer than ever before. The market is open and fees are often negotiable. There is money to be made although you definitely have to have a love for the image over the desire for financial gain. Aside from the importance of having your own individual style, I think having a business mind also helps. At the end of the day, marketing and self promotion is a large part of the photographic business. I guess this is where Wonderful Machine comes in.