Dean Chalkley interview
Dean Chalkley wasn’t always convinced by a career in professional photography. At first, fashion and music were just interests. Little did he know that, later, those passions would help him carve out a career in a completely different field.
With shoots for fashion magazine Dazed & Confused already under his belt from his student days, he headed towards the bright lights of London and became a photographic assistant. It was the start of great things.
Fast-forward to 2008 and Chalkley is sitting in an underground American diner-style restaurant in the middle of London, talking to Pro. He enthusiastically chats about the days when photography wasn’t even a blip on his radar, reveals how he narrowly avoided a career in advertising and remembers when Rankin gave out portfolio advice for free.
Georgie Woof: Why did you get interested in photography?
Dean Chalkley: When I was a kid my Dad had a couple of cameras and some mad old Hoya filters that were fascinating. I was a mod at the time; really into my music and my first memory of being involved in photography was when he asked me and a mate to be in some pictures for him, all geared up, on our scooters.
Honestly though, I was more interested in fashion then; especially the type influenced by music. Instead of pursuing photography I decided to become a fashion designer. I spent a year on a fashion course, got a City & Guilds qualification out of it, and basically became a bespoke trouser maker. But if I wanted to set up a workshop I’d have had to borrow a lot of money and when it came to crunch time, I decided against it because of
the debt.
I went on to become a Civil Servant. They sent me on an A-level course in photography as there was some involved in what I did; it wasn’t a pen pushing type of job. I really enjoyed it. While I was completing the course I became obsessed in a type of motor racing called mini cross. My parents even became my pit crew, and I’d photograph it as often as possible.
Over the two years I was doing the A-level course I got more and more into it, and moved away from motor racing. Again, it came to decision crunch time, but it was all down to fate in the end. I had been lined up for a new job in the Civil Service and at the last minute they gave it to someone else. I took it as a sign and moved on.
I went to Blackpool and The Fylde College and did a photography degree, then just odd jobs. That Christmas I thought: ‘Right I’ve got to do it’. So, from college I moved straight to London and assisted a guy called Malcolm Venville. Following that I went on to assist Seamus Ryan full-time. Previous to that I made the acquaintance of a very supportive agent. He showed my work to advertising agencies and it all escalated.
GW: So, how would you define your type of photography?
DC: At first I was very much headed down the advertising route. My agent knew that market and that’s all he cared about. In a way he was like a carpet salesman! It was the equivalent of him supplying Axminsters, rather than lino. He needed to supply quality to clients, and he was putting me forward for the kind of work he thought I was best at. But that work wasn’t really me. I did leave that agent, and moved onto my current one at Shoot Productions, who are just great.
Now, though, a lot of people know my work for the music photography side. I’m glad, music is ingrained in my personality and psyche. I’ve always been interested, not only by the notes on a page but the whole package. Everything influences everything else in this world. And music influences my photography.
I don’t think you have to have a niche, but it’s inevitable that people will pigeonhole you. That’s not a bad thing; if it’s someone looking to commission you, they can see you have the ability to achieve what they want. You’ll always be known for the biggest genre in your portfolio. But that can change.
GW: How did working for Dazed & Confused come about?
DC: During my degree I’d come down to London to see the guys at Dazed & Confused music magazine in an attempt to get some work. Then the office was no bigger than a shoebox and they’d just published the tenth issue. The first guy I met there was Phil Pointer. I showed him my work and he asked if I wanted to have a go at redoing a shoot he was unhappy with. I said yes.
I carried on at Blackpool, and would come down to London whenever they had a shoot for me to do. It was a real labour of love; not great money but a real confidence-building operation.
When you’re in education everything comes very easily, but when you’re in the real world, your whole support system goes. I knew that if I was to slip into another type of job, that’d be it! And I desperately wanted to realise the potential of the three years I had put into my photographic education, so breaking into Dazed & Confused was the best thing I could have done.
GW: Who are your biggest clients?
DC: I do work for the Levi collections books. NME is a very big, regular client, too. The picture editor, Marian Paterson, is brilliant and really knows her own mind. I worked with her on a previous magazine and when she went to NME she mentioned me. Picture editors have to put themselves on the line for your work, so you have to keep them happy, whilst keep the integrity in your work.
Pictures: Dean Chalkley
