Karl, What drew you to shooting interiors as a speciality. Did you have an interest in architecture?

I’ve always had an interest in architecture and design, but I think when I first started out I was actually more attracted to light and colours, how light behaved in a confined space, and how that could be captured in a photograph.  Even as a kid, I never went for harshly lit exteriors, when the sun was too high, and this is probably what steered my interest towards controlling the light of an image, both for interior and exterior photography.

Your portfolio showcases luxury hotels and resorts worldwide. How do you adapt your photography style to reflect the unique essence of each property, such as the Hotel de Crillon in Paris or Le Duc Resort in the Seychelles? 

That’s an interesting question. I’m not sure if I do consciously adapt my style but before I even go to work, and above all, I have to consider what the client wants and needs.  This will be stipulated in the brief, usually a shot-list, but this list will generally only be a simple description, such as “lobby interior”, “infinity pool with view towards palm trees”… etc.  Once I arrive at the location, I can then begin to explore how to add my own creative touch.  On every photo-shoot there will always be “artistic” moments which leap out at me : improvised moments that I spot, often quite abstract and unusual images, which could never really feature in a brief, but which I’m instantly drawn to. (eg, a close-up of a guest’s attractive feet draped over a lounger, or the two kids up a tree on the beach at Anse Soleil resort in the Seychelles).  

You’ve worked with prestigious clients like Four Seasons, Raffles, and Marriott. Are there unique challenges you face when photographing such high-profile brands, and how do you ensure their branding guidelines are met?

Yes, always. Such shoots invariably come with bigger teams and are often more prescriptive, with tighter timetabling, offering less flexibility to photograph what and when. By contrast, when I’m shooting boutique hotels or privately owned establishments, I generally have more free rein and can “follow the light”, ensuring I capture the rooms or spaces at their optimum.  Similarly, while branding guidelines are helpful on one level, as they steer you very closely towards what the client requires, they also represent a restriction on creative input. 

I imagine that when photographing superstar chefs there are big egos involved. How do you negotiate these and the PR people who accompany them?

Yes indeed, top chefs and top photographers share some of the same parameters, not least perfectionism, and many photographers also have big egos!  I remember listening to Rankin being interviewed on Desert Island Discs and being aware of the power balance when photographing the Queen. He’d grown up with the notion that everyone should be equal, that “the Queen goes to the loo too”.  Ultimately, I feel it’s crucial to make your subject feel respected and relaxed because that’s the only way you’ll get a good portrait, so I try to work towards a good mutual understanding in the short amount of time I have prior to, and during the photo-shoot, often only 20 minutes. Recently I photographed Spanish Chef Jordi Vila, now director of culinary at Constance hotels, and he was like a kid in a sweet shop while discussing his fascination for food, but when the actual photo-shoot began I could see he was actually quite shy.

Your blog mentions the importance of a hotel lobby for first impressions. What key elements do you focus on when photographing a lobby to convey its atmosphere and appeal?

For every new lobby I always put myself in the eyes of the first time guest or the prospective guest who’s scrolling through Booking.com. I make a list of the features that instantly appeal to me, and those that don’t appeal, because, obvious though it might sound, you only ever get one first impression, so it’s absolutely vital to get the shot right. I might want to emphasise the scale, the architecture, the lighting, or it might be something less tangible, such as the feeling you have when you arrive; most of the time it’s a combination of all of these.  Not all 5 star hotel or resort lobbies look stunning, and sometimes I find they look quite sterile and uninviting.  While it’s vital that my images are authentic, it’s also very important that they don’t present negative characteristics. 

With 20 years of experience in hotel and restaurant photography, how have you seen the industry evolve, particularly in terms of visual trends and client expectations?

The Smartphone and Social Media are probably the biggest game changers in this period, and drone photography has replaced most helicopter photography.

Pre-digital cameras struggled with interior light and only a small number of photographers, with extensive lighting kits (and enormous fees) would get it right. Nowadays an Iphone can generate a pretty good rendition, often good enough from the marketing team’s perspective for Social Media.  However, the luxury market and the big hotel chains still demand the very best to promote their properties on their websites and in brochures.  In addition, thanks to Social Media, there is now a much greater emphasis on authentic experiences and storytelling. Indeed the marketing now focuses on building emotional connections and showing not just the facilities but also what it's like to be a guest, and hence the photography needs to capture the feeling and the essence of being there. That’s one of the biggest challenges for the photographer nowadays.

You’re based in Saltaire, not far from Leeds, but work internationally, including in Dubai, Qatar, Seychelles and Palma de Mallorca. How do you handle logistical challenges like getting equipment through customs  in diverse locations. Have you had any nightmares like airlines losing your gear? 

I had a bit of a nightmare once at the customs in Tangiers prior to a massive shoot for Banyan Tree, when the customs officer initially confiscated all my equipment as I didn’t have the required permit for commercial photography in Morocco.  In the end I had to “promise” I wouldn’t be doing any commercial photography- just amateur work, and that I’d exit the country through the very same customs in Tangiers where I could prove I hadn’t done any such work…. Long story short I left Morocco by boat from Ceuta to Gibraltar! 

I was also very nearly mugged on the outskirts of Salvador, in Brazil where some local surfers I’d been chatting with and photographing suddenly realised they could probably relieve me of my expensive camera kit quite easily. They must have been amateurs as I managed to escape them by sprinting down the road in my Havaianas, and flagging a passing bus. 

Amazingly, although I have had equipment miss transit and arrive home late, I’ve never actually had gear arrive late for a photo-shoot, and I’ve never yet had an airline lose any of my gear. I do make sure I take flights with as few changes as possible to minimise the chance of this happening.  I also aim to travel as light as possible for simplicity. 

 

You’ve incorporated people into your interiors work, like the bellboy at Jannah Resort in Abu Dhabi. How do you feel including human elements enhances the narrative of a space?

Lifestyle imagery is something I always aim to include, as it adds an emotional layer. An clean and empty reception desk in a lobby might suffice for a mid-town hotel, catering to a business clientele, but if I’m planning my holiday, that would never inspire me to visit a hotel or a resort, whereas a photo of a welcoming receptionist gives context and an immediate warmth to an image.  Bizarrely some major hotel chains specifically ask not to show people in their shots, claiming it dates images. Personally I feel if it’s shot well then it gives a much better understanding of the essence of a hotel.

Aside from corporate work, I see you have an obvious love for travel and people from across the world. Your portraits are simple but compelling and seem quite different from the complexities of a hotel shoot. Does this kind of work refresh your enthusiasm for photography?

Yes, absolutely. I’ve always loved every aspect of travel, from when I was a kid.  Every summer my parents would take us all camping around Europe, on a shoestring. With just a Kodak Instamatic and a 24-exposure film (usually Black & White), I had to be very selective with what I shot.  When I turned pro, my principal hobby became my job and I was sent to far flung countries such as Brazil and Japan for up to 6 weeks with all my photography gear in one backpack, shooting travel guides for clients including Time Out and Lonely Planet.  I still get excited at the prospect of shooting people with unusual or expressive faces, both at home and overseas. 

Lastly, what are you working on next?

Aside from the hospitality and property photo-shoots I’ll be doing, I’m in the process of organising a photography exhibition on the subject of Dementia.  My mum passed away earlier this year, having suffered for a number of years with Dementia and during this time I felt an urgency to capture photos of her as her life began to change.  My aim is for the exhibition to help challenge stereotypes and destigmatize those living with dementia, through moving portraits, stories and quotes from a wonderful person and a wonderful life, showing not only fear, anguish and loss, but also the great sense of love and dignity that still remained. 

See more work by Karl Blackwell