An interview with award-winning architectural photographer, filmmaker, artist & Mass Collective member Simon Kennedy

“I have no doubt that there is still a place for an impactful still image. At the end of the day there are things you can do with a still that are difficult if not impossible to do with the moving image, no matter how sophisticated the cameras and software become.”

Simon Kennedy is an award-winning architectural photographer, filmmaker and artist based in London. He is also a fully qualified architect, working with high-profile clients throughout the UK and beyond.

Simon’s personal work is concerned with space and its design, and ways it can be altered or regenerated through photographic representation and intervention.

His work is currently available to buy via our friends at Mass Collective.

Hi Simon, many thanks for taking the time to share with our community, I know you’re a very busy man so we really appreciate you taking so time out for us.

First of all, can I congratulate you on a superb portfolio. I love your compositions and soft veneers you achieve in your work.

Thank you very much!

You’re more than welcome!

I feel I’ll move on from asking this questions one day as we see the tiny flicker of light at the end of the tunnel, but let's start with the here and now.

It has been a tough time for a lot of people over the past year, can you tell us what has been keeping you occupied recently and what your plans for the remainder of 2021?

I am continuing to work with my clients on a variety of projects, also I have begun a collaboration with a number of other photographers as part of the Mass Collective - and I will be very interested to see how this turns out and the impact that it has on my professional work. 

Francesco, Henry and all the gang there are great. I remember when I started out with M.mode early lockdown 2021, Francesco called me up and we had a great chat about the idea of collaborations with photographers. He gave me confidence to give it a go…

I’m loving what they are doing with their art shop and gallery ideas, your work included obviously!

Could you tell us a bit more about your past, your ethos and how you approach your work currently?

I am a fully qualified architect, and I used to be a keen amateur landscape photographer.

I finally realised one day that combining the two areas of interest would be a very good idea. I also taught a post-graduate studio at the Bartlett School of Architecture for more than a decade, which provided me with a fantastic test-bed for exploring ideas about the representation of space.

My brother is a teacher and I have total respect for anyone who inspires a generation of up and coming creatives, great work!

How do you go about getting work and what do you find is the best solution you've found?

New clients come in from a variety of sources, but often due to having seen my work shot for someone else. Personally I believe that building a relationship with a client whose work resonates with you and who then comes back to you time and time again is the most important way to ensure a good supply of work. 

I think that is great advice and a great ethos to have. I have to admit that currently when I work on projects that I love I am so much more invested in the work and I’m pumped on shoot. I certainly have a passion for sustainable architecture and am trying to seek it out as much as possible.

Where do you see the future of photography heading, not only in our genre but as a whole? Do you do more photography or filmwork?

I have no doubt that there is still a place for an impactful still image. At the end of the day there are things you can do with a still that are difficult if not impossible to do with the moving image, no matter how sophisticated the cameras and software become.

Having said that, the moving image is something I am seriously passionate about - the studio I taught at the Bartlett was the "film unit" - and I am excited by the unique possibilities for communication and the representation and exploration of space it can provide.

I am still mainly shooting stills, but certainly happy to move more into filmmaking. Generally though I think that the profession needs to acknowledge that the simply unbelievable sophistication of the latest and future cameras mean that technique and craft may become less and less important, and a singular vision will become even more a photographer's raison d'etre.

I think this is a question, that in time we will find the answer to. I’m sure it will push us to new boundaries of creativity as the technology improves even more, taking the photographer away from a more technical side to like you say having a more creative vision.

What is the interior and architectural scene you’re surrounded by? Is this where do you do most of your work?

My studio is in my home - a 1920's house, where all processing etc gets done.

Nice answer…..an architect’s wit….

As a photography community we love a bit of gear talk, could you tell us what equipment you have in your bag and enlighten those who aren't familiar a little bit more about your process.

I started on 4x5" film, which I still use, but mainly for personal projects and very rarely now for paid work, mainly due to the cost of processing.

I have a lovely kit with Schneider and Rodenstock lenses, and a Toyo VX125b portable view camera.  I also have a set of Canon tilt-shift and telephoto lenses, and I use a full frame Canon system as well as a Fujifilm digital medium format setup. Both of which are frankly incredible. 

What a lovely bag! Very jealous…the Fujifilm medium format set up is stunning!

Do you feel that you're happy with the work you produce or do you suffer from 'Imposter Syndrome'? (This is something I've been discussing with others recently and I'm not alone...)

I go through a strange process where I am usually pleased with the results on the day of the shoot, I then dislike them intensely as I start to process the files.

As I complete them I start to like them again, and I usually end up happy. Then I look back at what I have shot from the distance of a few months and by that time I feel I have moved on and I dislike the results all over again, and strive to do better next time!

I don't feel I have 'Imposter Syndrome', but I certainly feel very lucky to be doing this work. 

Ah the classic emotional rollercoaster we all so used to. I saw Mike Kelley post a diagram of what his emotions were like from getting the client, the emotions of the shoot, post and then the end result. Was so on point.

As my own personal work progresses, I look around at others work and see so much incredible work! Do you have any advice for keeping motivated and pushing yourself forward?

I came relatively late to photography as a profession so it is not something I struggle with as I have done other jobs and feel very fortunate indeed to be able to do this work and be paid for this job.

Sometimes though a new camera or lens, or film can keep things interesting, but lately I have felt that the subject or content of the work should be the thing that keeps you coming back for more, and if it is not, perhaps the project is complete and it is time to find something else to focus on.

Where do you draw your inspiration from and how do you go about creating your stylised look?

I am very inspired by the art world, and I have very much enjoyed the way that social media can allow you to glimpse the processes that artists go through.

Mainly though I am inspired by what I am photographing. Having some experience of the shear pain and effort that goes into the design and delivery of a building, I am absolutely floored by the achievements of some of my clients. It certainly adds to the pressure to get the shots right!

I have not deliberately created a stylized look for my professional work although I do think a style has evolved, and I believe it comes from a struggle to reconcile what makes a successful photograph in itself with what makes an accurate or truthful depiction of a space or structure. 

There are some incredibly talent architects and interior designers out there, doing amazing, it is an honour to be asked to work with them. Sometimes a little overwhelming as I just want to do their work justice.

Do you have a favourite thing you like to shoot and why?

I absolutely love to photograph bridges as they are always strong objects within a particular landscape and I feel I am able to combine my love of landscape photography with my passion for photographing structures.

Having said that I also really like shooting offices, schools, houses...

Oh I love a good office….and bridge for that matter….

What would say the highlight of your career would be to this point?

Probably photographing Istanbul Airport - the photos have not yet been released.

Well we all can’t wait to see the results.

Do you have any favourite photographers that inspire you and anyone you think we should be keeping an eye out for?

Jeff Wall, Hiroshi Sugimoto, William Eggleston etc etc, and there are so many coming through - too many to mention.

Lastly, what has been your favourite takeaway in all the lockdowns?

Indian!

Yummy….I love a good Indian…although a good Indian doesn’t love me.

A huge thanks to Simon for his takeover and taking some time out to have a chat about his work and career to date.

If you would like to see more of Simon’s work visit the following links - Mass Collective Shop - Instagram