Looking at dioramas of daydreams through a viewfinder, London-based photographer ANDREW NUDING captures dream-life depictions of the youth in sharp focus.
Observing the world in a string of wispy sequences, Andrew Nuding penned down the right speed needed to capture the fleeting spirit of the youth frame by frame, telling stories of what happens after hours, and taking a moment in time to explore their vicissitudes and contradictions in unsuspected flares of light. “I like my work to be a mix of beautiful and unnerving. I love using strong colors and textures,” remarks the 22-year-old fashion photographer. Setting up a realm with strongly lit verisimilitude imagery from grits to gloss, Andrew has been making a scene in the photography world for quite some time now with terrific works for distinguished brands such as Absolute, Nixon and American Apparel, ultimately gracing the arresting pages of magazines such as Dazed & Confused, Oyster and Thread. “When I shoot editorial I like to be involved from the very start. I have an input over everything: the idea, the casting, the hair & makeup, the location or set. There is a lot of work that goes into the shoot, all before you even take a photograph.”
“I like my work to be a mix of beautiful and unnerving.”
Commander of the pit, he points his lens to a story unseen. “I really like working on big productions and with a big team. Working on a campaign shoot can be a few days so you really get to know the team you are working with.” With Andrew standing in perfect symmetry between campaigns and magazines, he develops a fluent visual dialect that talks of vibrant aftereffects of reality from any perspective. “When I’m working on a campaign shoot I have to think about what the client has asked for. When you’re doing a commercial job you have to ‘tick the boxes’ and make sure you’ve covered everything you were requested to do. I guess the main difference between the two is the freedom you have when you are shooting for a magazine. The transition was pretty smooth for me. I like the challenge of working closely to a brief and working with a client.” With the inevitable transition of print to digital, Andrew works with the shift in lighting with ease. “I think there is still a future for print magazines but it is really important for them to also have a good digital side. I love shooting for print and it is always one of the best feelings to be able to see your work printed,” Andrew says.
“One thing I never forget is that sometimes the simplest set-up is often the best.”
Clicked at the first shot, he colors the motion of his visual love affair with warm, sprightly hues. “My mother was a big encouragement to my creative side when I was growing up. She paints in her spare time. She bought me my first camera. I remember on a trip to Los Angeles when I was 16, I bought a film camera and this was the magic moment I decided that I want to be a photographer,” he continues, “When I was studying in art school, I assisted the Irish photographer Rich Gilligan, who taught me a lot of skills that I still use today. One thing I’ll never forget is that sometimes the simplest set up is often the best.” Stuck in rapid repetition, Andrew continues to translate the restless sensation of his pursuit to digital satiation. “I am always planning my next personal project or working on one at the time. I can’t stop thinking about ideas the problem with me is finding the time to work on them,” he positively adds, “I am looking forward to the season changing and for the leaves to start changing colors. I have new editorial work coming out soon that I’m excited about.”
By Bianca Serrano