I knew I had a very limited amount of time to cover all the bases. So you just try and be as thorough as you can within the time that you’ve got. I’m using large cameras, and they have a lighting system that I’ve developed myself the flash takes quite a time to recycle with the six nine format cameras. There’s only eight pictures, and then you have to strip the whole thing down and you have to take the flash off to get the film out of these cameras. So I’ve got a whole number of them and someone is following me round constantly recycling the cameras and giving me the next one and the next one and the next one. So it’s quite a frenetic process.
They’re very hard to focus in low light levels because they’re range finder cameras, so what I’m having to do is I’m having to guesstimate the focus lengths as well. So where you see the pictures and they look as they do, it’s a very kind of technical, precise process to actually get these pictures. And then afterwards you can blow them up really big because of the quality of the negatives.
I don’t think people kind of realise the lengths that I have to go to, to make these kind of pictures, because they look outwardly like they are a bit messy. What I’m trying to do is construct pictures that have random and disparate elements within the frame that make them look like they are documentary type images but in fact they’re not. They are constructed to look like something that’s quite simple, but in fact they’re technically very, very precise.