Tom Hoops – The Dark Knight of The Portrait Photography

I’ve stumbled across photos by Tom Hoops in one of the fashion photography showcases. Extravagant ideas are typical of fashion industry, but I think Tom’s works stand out among others and I was hooked by his style immediately. Browsing photographer’s personal website I felt as if I was watching a psychological thriller – strong, compelling, sometimes a bit mad faces I saw there were terrifying and intriguing me simultaneously. Unconventional subjects, heavy use of black and white and a magnetic dark mood in every image make Tom Hoops’ photographic style truly original and recognizable whatever genre he works in (including portraiture, fine art, photojournalism, fashion and commercial photography). Today I’m happy to introduce you this talented photographer and interesting person.

We thank Tom for taking time to do an interview with us and share his thoughts and images with our readers.

Tell us a few words about yourself.

My name is Tom Hoops, I’m a self taught photographer in my late 30’s, originally from the UK, currently based in Asia.

How would you name your photography style? What is the most unusual description of your work you’ve ever heard?

I find it difficult to describe my own style. I create images I care about, and as a result I hope they appeal to others too. I consider My work to be strong and bold, I’m definitely drawn to a harder edge mood, I suppose you could say its a bit ‘in your face’. The Best description I have read recently was from a Spanish site that described me as the “Quentin Tarantino of photography” – I’m not so sure Quentin would approve but it tickled me nonetheless.

Your most memorable project. What was special about it? (Photos?)

I’m not sure I have one. My heads project was a personal one I really enjoyed. It was a series of street portraits, no reflectors or lights, just grabbing shots where possible, or asking subjects to move to make the pictures a little easier. Heads also formed the basis for my first solo exhibition last year. It’s an ongoing project, so I’m always looking to add to it. However during the last year I have been concentrating more on the professional side of things with fashion and commercial jobs.

Going forward this year (2010) I plan to do some more social documentary work with one longer term project in particular.

What is inspiration to you? Is it a subtle matter or something like a tasty dinner can be enough to inspire you?

My main inspiration is transforming a subject, taking that special something and finding an angle a look that others would ordinarily miss.. Other than that, I will often have little ideas that just spark here and there, I try to note them down and keep a diary of them all. Unfortunately I don’t have the time these days to put them all into practice. On a personal level my wife remains an inspiration, the transition to full time photographer was not easy and she really helped me a lot.

There is one gallery in your portfolio that stands out of the rest, it’s Ginger. Can you describe its creation? (who’s the model, was it an assignment for some publication or your personal project?, etc)

Ginger has become a good friend over the last year. What started out as a development job for an aspiring actor, has turned into something far more interesting. The model is Martin Anger, who is also an actor. He’s not what you might expect from the photos, in fact I once stood him next to one of his portraits during an exhibition of mine, and hardly anyone realised it was him!

What combination of ‘camera-lens’ do you use most often?

Most often… Nikon body and a 50mm 1.8

Is there anything really irreplaceable in your gear kit?

Well other than the obvious, camera and lens, not really.

Do you pay much attention to post processing your images?

Yes of course. The fashion work especially. The post processing is a big part of my work, I enjoy the extra level of creativity it affords. It also gives me the ability to take my time. It’s not as limiting as the actual shoot where time dictates the amount you can play around and experiment. Of course I recommend you shoot with an idea as to what you would like to produce in the end.

Is there a border between your personal and commercial work? If possible, could you share some imagery that doesn’t belong to your main photography genres?

I tend to tone it down for commercial work. One of the biggest differences is the use of colour, if I had my way I’d shoot nearly everything in black and white. My personal work is certainly starker, more rough almost raw.

This photo is not a PS manipulation, the sword is completely real and it’s really piercing a cheek. Tom has taken this photograph at Phuket Vegetarian Festival in Thailand (editor).

Do you agree with the statement of Thomas Edison “Genius is one percent inspiration and ninety-nine percent perspiration”? Do you consider yourself a talented photographer?

I think Edison was being a little self deprecating. Some people are different from the masses, I don’t think it was just hard work that made them that way. Do I consider myself to be a talented photographer? I consider myself lucky to be where I am.

What is more important in photography, technique or idea?

Both are essential if you want to work in photography professionally. If it’s a bit of fun at the weekend then I’d plump for idea first.

If you could travel in time, where would you go for a shoot?

London 150 years ago. Wonderful costume period, poor health care, fantastic architecture. Couldn’t go wrong I think.

Best professional advice you’ve ever got.

I have never really had any personally. I have never assisted nor have I taken any formal schooling in photography.

Is it easy for you to make a contact with a new subject? What features a model should have to spark a professional interest in you?

Contacting new subjects is easy, making that contact into something special photographically is something else. I like the unusual in a model. An unusual face, strong eyes, intense features. I don’t do pretty very much.

Where can you usually be found on Friday night at 9p.m.?

Anywhere, I don’t have routines, part of working a non 9-5 means I could literally be in any part of the world doing pretty much anything. If I’m at home though, I’d probably be having dinner with my wife or out with a few friends.

Who are your influences?

Plenty of photographers I admire, among them Avedon and Eugene Smith, both true to their vision and style, both genuinely talented photographers. However, I try not get too heavily influenced by anyone, I prefer to tread my own path.

Are you active on Twitter, Flickr and other social networks? How important are they for the career of a professional photographer?

I have a small but limited collection of images on Flickr, you’ll find me mainly on Twitter and Facebook. I think it’s important for photographers to develop their own network or community. important to connect with people that appreciate the work that you do. The internet has opened up possibilities that were once unthinkable. I really don’t think it’s an option to ignore social media anymore.

What ambition have you not yet achieved?

I love my job but there are plenty of things I have yet to achieve. I’m not where i want to be yet. As I’m based in Asia I don’t have a big enough imprint in North America and Europe. I have photographed a number of celebrities in Asia but outside of the region they don’t tend to be recognized. So I’d like to shoot a few more internationally recognisable people. Also I would love a few more covers and would like to open a studio in New York or London.

If not a photographer, I would be a….

A designer of some sort. Hopefully recreating or furthering some classic designs from the 50s and 60s.

Do you conduct any workshops or seminars? Whose master-class you would love to attend yourself?

Yes this year I’m running a series of creative workshops. Starting in Bangkok in January we then fly to the States and Europe. I’ll be covering working with models and portrait subjects, along with a full digital work flow, from skin retouch to layer masking. These workshops are scheduled but we have scope to run some private workshops for groups too.

If Avedon were alive and teaching then I would be there in a flash.

How often do your commercial jobs make you sacrifice your artistic philosophy? Do you reject such assignments?

I have rejected some assignments, generally though clients choose and approach photographers based on your portfolio and know what to expect. I only really reject assignments or jobs that don’t hold my interest or jobs that don’t suit my photographic style. In this case I’m happy to recommend a colleague.

Which of your photos would you submit to the “World’s Best Photo 2010” contest?

Definitely something from the “Ginger” series, those shots as a group tend to have a greater impact on people than most.

Do you think tips and advice from peers are important for budding photographers? If so, what would you advise to the beginners?

Absolutely, and I have no idea why some established photographers are so secretive about the work they do. My advice: dare to be different. Make your work your own, don’t copy another photographer, do your own thing. If you do that you’ll be the best there is at what you do.

Do you care about public opinion of your work?

Yes of course. It’s wonderful getting emails and comments from people that like my work. I’m very grateful to everyone who has supported me since I started. I’m also aware that it’s not for everyone but that’s the nature of art and photography. We all have different tastes.

You can learn more about Tom Hoops by visiting:

Tom’s personal website: Tom Hoops Photography
His print shop: Tom Hoops Prints