Rupert WatkinsUp Close and Personal
Rupert Watkins gets candid with Creative Director Andy Barnham about his transition to photography and the reasons for founding Riddle
A peripatetic upbringing lead Andy to the British Army as an Officer in the Royal Artillery. Serving on operations in Iraq and Afghanistan, his interest in photography continued despite the pressures of combat. Deciding to swap artillery ranges for light meters, Andy determined to make his passion his second career. Training his sights on Savile Row, his client list now reads like a “Who’s Who” of London menswear; Huntsman, Anderson & Sheppard, Henry Poole, Drakes, John Lobb and Turnbull & Asser to merely skim the surface. We threw him a few questions to see how this ex-Army linguist came to be a founder of Riddle…..
What made you set up Riddle?
When I first set out as a photographer I was thrilled to be photographing the luxury industry and see my work in print. Over time, however, this was tempered by the fact that many of my friends stopped looking at my lifestyle work as they stated, “There’s no way in hell I’ll ever be able to afford to do/ buy any of what you’re taking and it just depresses me”. Riddle was born out of such comments and seeing a lack in the market between craft and luxury items, but also being able to show people what can realistically be aspired to and the steps that can be taken along the way. Want a watch from Brand “X” but can’t afford it? Well… have you heard of Brand “Y” which is actually the younger cousin, owned by the same people, which looks the same but costs a fraction of the price…? Hence Riddle.
What was the single biggest struggle breaking into the photography world?
Getting paid work and calling myself a ‘professional’. Barriers to entry in the photography arena are actually quite low. Today people armed with iPhones can call themselves photographers and swathes of photo desks at newspapers have been closed in favour of journalists with smart phones. The quality of a shot is being sacrificed by the immediacy of how quickly a photo can be taken and published.
Did any of the skills developed in the Army prove to be of use in the fashion photography world?
The Army gave me a work ethic and trained me to trust my skills and not to panic. I’ve found very little ever goes to plan. The trick is keeping calm and finding ways to get the job done, no matter what obstacles rear their heads.
Biggest coup so far as a photographer?
I’ve been very lucky in who I’ve met and who I’ve photo’d. Dr Condoleezza Rice, Olympic sprinter Yohan Blake, driver Mika Häkkinen (photo’d blindly over a crowd of people at the Mille Miglia), model Petra Nomcova at Milk Studios in NYC, musician Tiny Tempah… My favourite moments were on stage at the sound check of the first Global Citizen Festival in 2012. Being on stage with Neil Young and The Black Keyes was incredible.
How much photography were you able to do in the Army?
I could never justify carrying a dSLR whilst serving and I didn’t have enough hands to use one anyway. Between a rifle, radio and body armour I would have buckled under all the weight. I always carried a compact camera and took shots whenever possible. I managed to find odd moments when I could take shots without interrupting the flow of what was going on. Over time my Army portfolio grew to be quite large, though my early shots won’t be coming out of the archives any time soon - they’re terrible!
Who’s influenced your photographic style – which photographers do you look up to?
I grew up looking at fashion and conflict photography (Vietnam photos in particular). Whilst poles apart, I loved the images as I find them so engrossing; conflict images are so visceral and fashion so glamourous. In regards to conflict, I’d have to say Philip Jones Griffiths, Larry Burrows with a nod to Robert Capa and Steve McCurry. In the fashion world, I was first gripped by Sante D’Orazio and then discovered Herb Ritts, Helmut Newton and Richard Avedon. what can I say? I love B&W photography. 