TODAY sees the last chance to see an exhibition by internationally renowned photographer Giles Duley. One Second of Light is a collection of photographs by Giles created over the past decade and runs at The Gallery in the Arts University Bournemouth.

A former AUB student, Giles, 44, studied photography before working as a high profile editorial fashion and music photographer during the 1990’s. Duley now focuses his work on humanitarian projects, working with well-respected charities in order to highlight lesser-known stories deserving of public attention and action.

 

1- Why did you change course from fashion-music photography to humanitarian and post conflict issues?

I became frustrated when the music industry changed. Instead of being on the road with bands and getting to know them, it became a short 1-hour portrait photo in a hotel room. I wanted to tell a person’s story but the music industry became too contrived. Taking humanitarian photography allows me to tell stories, and for a reason. It’s not about stories that shock people or that are horrific. Other people do that. For me, it’s about the little moments of normality that somebody else would think ‘That could be my son, brother, grandmother’.

2- What is your most memorable piece of work from your music photographer career?

One of my favourite pieces was when I worked with Marilyn Manson. He really understood that taking his photo could be a performance. We both enjoyed it, and he was happy to collaborate. We took it in a Miami hotel, and it was since voted by Q Magazine as one of the top 100 photos of all time.

3- What is your most memorable piece of work as a humanitarian issues photographer and storyteller?

I have had an insight into so many people’s lives, I couldn’t compare them. But my time in Lesvos, Greece, where I have been documenting the arrival of refugees from across the water, has been one of the most overwhelming things I’ve seen. The sheer numbers of people and their sheer desperation – there is something very humbling about the people I’ve seen and documented here. I never thought I would be photographing thousands of refugees walking through Europe in my life time.

4- How would you reflect on those pieces if you compared them now?

In general, my work with music photography was all about selling – it’s the commercial side of photography. Now it’s all about the other person, sharing their story and doing them justice.

5- With the eye of a professional and senior photographer, what sort of photograph would grasp the essence of Bournemouth?

I would go for an elderly couple on the beach, in deck chairs eating an ice cream. They would be in their best suit and dress, and the gentleman would have a red and white hankerchief knotted in the corners. The photo would be in colour. It would sum up everything I love about English eccentricity.

6- How would you describe photography in a word and why?

Powerful or influential. Photography is all around us. If your in the car, you see a billboard. If you read a magazine you see the photography bringing the copy to life. It’s the most common form of advertising and storytelling. People remember a photo from childhood or of a loved one. When a refugee has nothing in his wallet, but a photo of a loved one, it’s all he has left and his most prized possession.

7- What advice would you give to a young aspiring photographer?

Be true to yourself and tell the stories you want to tell.

 

By John Cottrill