In the hot seat: I interview Robin Maryon

Robin, who’s based in the north west, has been on a number of my workshops and I’ve watched him develop as a street photographer over the last couple of years. I think he’s exactly the sort of photographer many of my subscribers would identify with, so I asked him to tell us about himself . . .

What part does street photography play in your life today?

I always carry a camera with me just in case, but mainly I try to get out for a full day every few weeks or go to specific events. It is either lunchtimes during the week (which isn’t really enough for more that the odd opportunistic/lucky shot), or weekends. I am a member of a few groups, the main one being StreetSnappers, and I’m lucky that in the north west there is a very active scene, so there is usually a photo walk on somewhere which is great to just mix with other photographers and share our thoughts and banter. The creative side of capturing shots I’m proud of is the main driver to get out, but the added bonus of the mental wellbeing benefit cannot be underestimated. It really does make a difference.

I love it when you randomly meet a fellow street photographer and have a quick nerdy chat, share socials and wish each other well. Lovely.

How would you describe your photographic style?

I’d say my shots are simple, clear and graphical. I like juxtapositions and humour as well as shapes and colour. I show things as they are but try to compose and see scenes simply and reduce busyness in the images. I’m not very good at seeing layers or reflections! I mostly shoot alone but I do like to be with someone. One or two other people help me with confidence and we each spot different things so it can be quite inspirational. But being out with too many street photographers is like trying to herd cats.

What’s the worst experience you’ve had on the streets?

I’ve only had one bad experience when I was taking a shot of some torn posters. A young lad walked by as I took the shot. He took offence and wanted me to delete the shot even though it only showed his feet! He was a bit confrontational. I deleted the shot as it wasn’t very good anyway and I was a bit worried about the lad’s attitude. The event shook me for a while, and it took a few weeks to get my confidence back.

I have had a few other people ask me what I’m doing, and they have been a bit confrontational to start with, but once I explained what I was doing and that it was totally legal they always back off and sometimes were actually really interested. I have some business cards which I give out if anyone asks which helps.

What single thing would improve your street photography?

Simple. Getting out more and going to new places. And relax when I’m out and put no pressure on myself to perform, just enjoy the process.

What are your views on analogue / film photography? Do you shoot film - or do you plan to? If not, why not?

My shooting is 99.9% is digital. I have been photographing long enough to have experienced film and darkroom processing, but I love the immediacy and control of digital. I work photo-editing most days so it is a natural process for me. That said I don’t over process, I do very little. Most images are processed within 60 seconds. I don’t use presets – although I’ve spent a fair bit of money on them in the past!

As for a view of digital vs analogue. I don’t care. I only really worry about my own shooting. What matters to me is the end result and if you can get what you want with film or digital then go for it.

I do have two film cameras – both Kodak medium format from the 1920’s and 1930’s. I got these for a specific project which I haven’t gotten into properly yet. A mash up of analogue shooting and digital processing spanning 100 years. That’s maybe one for the final question . . .

If you could spend the day shooting with one photographer, dead or alive, who would it be, and why?

Oh, that’s a hard one. On one hand I’d pick someone totally different to my style just to experience their work process, like Daido Moriyama. But I’d say someone like Eduardo Ortiz. He seems to be able to just confidently go in anywhere and has such a natural and easy relationship with photography. Or a photographer like Melissa O'Shaughnessy as I think she just captures things as they are, like I try to. It would be great to experience the madness of New York through her eyes as well .

How did you get started as a street photographer - and why?

I discovered street photography as a genre about 3 years ago, but I’ve been photographing since I was 15. Being a graphic designer, photography has been a big part of my personal and working life. I started street photography to try something different and to give me a purpose to my photography as I didn’t ever do anything with the pictures I took - they just sat on my computer. I liked the idea of creating work I could print out and share physically. I enjoyed landscape, wildlife and urban shots and came across street photography while watching videos online. After watching a few YouTube videos, I signed up onto a workshop with StreetSnappers to try it out, and the rest is history.

Black & white or colour?

Colour! I see in colour and colour is what attracts me. It may be the designer in, but I love bold simple colour palettes.

What gear do you use - and why?

Everyday carry is a Ricoh GRIIIx. I like the size and simplicity of it. I have it set up as I want it with 2 presets - zone focusing or street portrait - and rarely fiddle with the settings. I was expensive for a fixed lens camera and it took me a while to get used to it (I nearly sent it back) but now I love it and it is always with me.

I also have a Nikon z6ii. This was my existing camera for my other photography, but with a small 40mm lens on it, it works really well as a street camera. It is easier than the Ricoh when I want to change settings quickly on the fly, also the low light ability is amazing.

What does the next 12 months hold for you?

Going back to the film question, I want to do my 100 year project with my Kodaks. Other than that, I want to make the most of my time, go out more and go to new places and meet new people (subjects and fellow photographers) as I’m a bit tired and jaded of my home city at the moment.

A group exhibition and some more zines are also on the cards, I’d love to do a solo exhibition too. I it great to see your work in the flesh and not on a screen.

Robin has produced four great zines (below), all of which you can purchase from him directly by emailing him at robinnmaryon@gmail.com (the zines cost £10 each including UK postage). You can also find Robin on Instagram here.