Insights
“I like to immerse myself
in a space, slow things down,
be present” Joel Redman
Works for Sale
About | Joel Redman
Select Exhibitions
2018 – The Fence, 7 US States
2017 – National Portrait Gallery
2015 – Royal Academy of Art
2014 – If Not Us Then Who project, solo exhibition, New York
2013 – Royal Academy of Art, London / Spotlight Studios, New York
2011 – AOP Gallery, London
2009 – Host Gallery, London / AOP Gallery, London / Laing Art Gallery, Newcastle
2008 – National Portrait Gallery, London / AOP Gallery, London
2006 – AOP Gallery, London
Prizes / Awards
2018 – The Fence, 7 Us State outdoor touting exhibition
2017 – Taylor Wessing, National Portrait Gallery
2016 – The Lucie Awards, 2 Honourable mentions, Series “The Karoo”
2015 – Royal Academy of Art, Summer Show, French Shrimpers
2013 – The Lucie Awards, Category winner and shortlisted for International Photographer of the Year, French Shrimpers Series / Royal Academy of Art, Summer Show, French Shrimpers
2010 – International Colour Awards / Screenings in association with Luerzer Archive, Top 100 photographers shortlist
2009 – New York Photography Fesitval, Fine Art / PX3, Category Winner / FOTO8 / AOP Awards / AOP Open
2008 – New York Photography Festival, Advertising / Creative Review Photography Annual, Orange Commission / Taylor Wessing, National Portrait Gallery / The Lucie Awards / AOP Open / BJP International Photography Awards, special mention by Simon Norfolk
2007 – The Lucie Awards / Creative Review Photography Annual, Personal work
2006 – D&AD New Talent / AOP Assistants Awards
Publications
GEO Magazine, British Journal of Photography, Creative Review, The Telegraph, The Observer, The Guardian, Monocle Magazine
A Photographer’s Journey | Joel Redman
Early Influences
In his early teens, Joel Redman moved from South Africa to the UK; it was a challenging experience, requiring him to adapt to a new culture and home. English lifestyle, at once familiar to us - rows of terraced houses, suburban streets and the village pond - were curious to Joel. Looking back, he thinks his attempt to process this sudden change, to understand his place in the world, were what first drew him to photography. It allowed him to observe cultural differences. Shooting on film, he started to capture the world around him - his interest in people and their landscapes had been ignited.
In 2012, Joel revisited the landscape of his childhood in a small body of work entitled The Pits. As a small child Joel visited his grandparents in the UK from his home in Cape Town; these trips, and the walks with them both along “The Pits”, a nondescript piece of land used by dog walkers and fisherman, left an indelible memory for Redman. The photographs explore his feelings on returning as a young adult to tread these paths again. Early morning walks with his large format camera, followed by breakfast back at the house that was still his grandparents' home provided some answers, or maybe more importantly, an opportunity to reconnect.
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The Pits, 2012
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The Pits, 2012
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The Pits, 2012
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The Pitts, 2012
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The Pits, 2012
Frame, Light, Subject
Slowly this casual interest crystallised into the realisation that this could be a career. His early experience, working as an assistant for a number of commercial photographers, informs many aspects of his practice. Joel perfected his technical skill whilst laying the foundations of his own authentic and recognised style. Working initially with large and medium format film, he developed a respect for each frame - every shot had be composed, lit, populated perfectly before releasing the shutter. Throughout his career, Joel has continued with this love of process and ritual of choreographing an image when it suits the subject.
Pursuit of the perfect illumination informs every frame…
Indeed, Joel has a deep understanding of how to use light to his advantage. As a photographers’ assistant he learnt how to illuminate an inanimate object with precision and patience. In one episode he recalls a two-day set up, where his mentor stayed up all night manipulating the lights until he was happy, making small adjustments and crafting the image.
Joel has moved away from unnatural light, preferring a distinctive, soft, natural light, but the pursuit for the perfect lighting still informs every frame.
‘I like to immerse myself in a space, slow things down, be present’
Stray from the Path…
This attention to detail is now an essential part of his working process. Whilst shooting the images shown in A Desert’s Indifference, he often spent days lining up the shot. He talks about knowing exactly which angle he wants to use, but waiting patiently for the elements to line up – for the tourists to arrive and drop into the frame or the light to highlight the topography. Knowing when the image is exactly right is now instinctive, and even though he predominantly works with a digital camera these days, he retains the rigour and precision of shooting on film. This process seems to have a meditative quality to it – something particularly apparent in the images of A Desert’s Indifference which capture the timelessness inherent in Joel’s methods.
