A revolutionary product deserves an equally innovative and impressive campaign. The pioneering EcoTank printer features alongside Mercedes-AMG Petronas Motorsport Team driver Lewis Hamilton, in a surprising and remarkable new film.
Three-time FIA Formula One™ Drivers’ World Champion, Lewis Hamilton stars in a tongue-in-cheek film created with Epson. This playful piece of content has been created in collaboration with the Mercedes-AMG Petronas Motorsport Team to mark the launch of Epson’s EcoTank printer, and aims to highlight its revolutionary refillable ink tank technology and the huge amount of ink that comes with the printers. The benefits of the EcoTank printers – high-volume printing without the need to use cartridges - are communicated in a surprising and entertaining way in the irreverent film. It is part of a multichannel content strategy, comprising the main Lewis Gets Inked campaign film and a range of behind the scenes material.
The innovative EcoTank system has turned the world of printing upside down, so we wanted to create a film that was equally surprising and memorable.
Epson is known as a brand that represents quality, innovation and performance, so people won’t be expecting a fun, wry and high-action film from us. The Mercedes-AMG Petronas Motorsport Team has been wonderful to collaborate with on this project. Lewis Hamilton has added real charisma, style and fun to the film, and helped us show another side to Epson. This project has been a year in the making and the creative team behind the project have been absolutely fundamental to the success of the impact of this project.
During the course of each season, I get to take part in some pretty interesting projects through our work with the team’s Partners, however I can say with some certainty that this is one of the more unusual! The shoot with Epson for the EcoTank printer was a lot of fun; I always enjoy doing something a bit different and going out of my comfort zone. Having 400 litres of ink thrown at me was a new experience, so I just went with it and I think the output’s really cool.
A unique pool of talent has been brought together to create Epson’s new ambitious film. Over forty people shared their expertise on the day including a special effects team, stunt supervisors, a movement specialist, lighting technicians, photographers, and more. The agencies included Citizen Films who produced, directed and shot the film, and Machine Shop, a special effects company specialising in live-action liquid effects.
Browse the gallery to see them working on-set.
Find out more about the people working behind the scenes with our full interviews. Discover what they loved about the shoot, how they got started in their dream career and what other interesting projects they’ve been involved with.
Director of Photography
Maria understands the Epson brand inside out, having started her career in product management at Epson. She was appointed Head of Creative for Europe in 2009, and was promoted to her current role as Marketing Director in 2011, tasked with driving the continued development of the Epson brand. Since then she has centralised marketing and implemented the marketing strategy across Europe, Middle East and Africa in over 30 languages, worked on numerous TV campaigns, and sponsorship activations with Manchester United and Mercedes-AMG Petronas Motorsport.
It all started with our EcoTank printers. The new models were set for release in September (2016), and so we needed to come up with some exciting ideas to support its launch. One of our agencies came up with the core of an idea, which we further developed. We then worked with Citizen Films to further develop and deliver a film that we believe is something really surprising.
There’s a moment on a project like this, when everything just falls into place and you can see how the ordinary can be transformed into something really special. We can work on a project for several months, so it’s great when you finally see it all come together, and deliver a result for the business. And the worst part? There are times when, for one reason or another, we can’t put an idea into action. It can be hard saying goodbye to an idea that you’ve grown attached to.
We’ve worked on this project for a year, so it’s fantastic to see the end result after a lot of hard work by a lot of people. And when you get a positive response to the final film – it makes it all worthwhile.
In the creative industry the work is often on a project-by-project basis, so it’s essential for people to want to work with you time and again. It’s also crucial to have a good attitude and be enthusiastic about your work. Although the creative industry can be informal at times, ensure that you’re always professional, friendly, engaged and polite.
A former factual TV Series Producer and Director, Gretchen brings extensive production expertise, having spent 12 years at the BBC and on commissions for ITV and Channel 5. Gretchen set up Citizen in 2009 with the aim of bringing strong storytelling know-how together with the ability to deliver good looking, creative and innovative films to the corporate market. In her spare time she volunteers as a Trustee for the charity ChildHope.
I run the production company, so we not only produce the content but we also have a lot of input creatively with Epson. I wouldn’t say I’m the boss, but the buck does stop with me in terms of the responsibility to deliver to Epson. I’ve selected the creative team to work on this and I’ve made sure that they’re the best possible people for this particular job.
[On this project] I’m also the producer so I’m the one who has to hold the purse strings and tell everyone what they can and can’t have. It’s a bit like a jigsaw puzzle, and everybody tries to make it work as best as it possibly can within the budget. I’m always very keen that as much of the investment as possible is shown on screen.
We have some key creatives who work with us all the time, but we tend to choose the team according to the brief. For example, Rina Yang, who is our director of photography, is well known for a particular style of shooting and a gorgeous, lush way of lighting. That’s the style that we’re going for and that’s very much her kind of thing. We chose our key creatives according to the project.
It sounds like a corny thing to say, but it’s a totally well oiled machine. Everybody knows the part that they’re playing. It’s a bit like running a small army. It takes a lot of man power, skill, and resources to make these things work well. And I think that’s something we do really well in the UK; the expertise that we have in films, commercials and TV – I think we outshine anywhere else in the world.
The head count [for the main shoot] is running at about 50. We normally have about 30 people working on our bigger shoots. This time we have more because of elements like the incredible set build, special effects and the stunts, which means that we need to have a set design team, a special effects team, and a stunt supervisor.
Delivering an idea like this, and fine-tuning it with Epson and the Mercedes-AMG Petronas Motorsport Team, to make it absolutely sing, is exactly the kind of work that really excites me. We’ve considered every aspect - the pace of it, how the voice-over will play against the action and Lewis’ amazing performance. These are areas we’ve been discussing for months.
The other interesting area is the special effects. We don’t often get hold of a printer and get to soup it up so that the paper will be spinning out at a really high speed and fluttering around the studio with the world’s biggest Formula One™ star centre stage. And the opportunity to cover him in paint is something that no woman would really not want to do. I think the unusual aspects of this idea are really fun and enjoyable for everybody.
The best bit is the creativity. Having previously worked in BBC TV for a long time, and being able to bring those sorts of skills and experiences and training to the commercial world, is really exciting. It’s a different tool box; the way that TV is made most of the time doesn’t involve these incredible stunts and lots of CGI, and the budgets and production values can be very different. I think having the opportunity to work with the UK’s top creatives and brands like Epson - who are absolutely at the top of their game - is very exciting.
Without a doubt, the worst bit is having to tell people no. Holding the purse strings as the producer - it’s a little bit like being the bad cop. And the other thing of course is making it run to time. Also, we work incredibly long hours as well, so I’m feeling my age at the moment.
Thinking back to the BBC, shows like Crimewatch were really interesting. That kind of documentary filming where you are telling real people’s stories - it's something that has followed through to some of the work we do today. For example, we produce short films for Macmillan Cancer, so we are still going out and filming about real lives. Since moving into the commercial world, we’ve done some really big budget productions. Last year we made a lot of brand films and adverts for Sprint, who are a big mobile phone provider in the States. We’ve had an opportunity with them to film really big scale productions, with massive casts of people, kitting out whole office buildings, so again, that was a big challenge, and interesting in terms of the size and scale of the project.
I got my first job working at the BBC as a secretary in the finance department - it was incredibly dull. But it provided a stepping stone into the more creative side of television. That was my first big break, if you can call it that.
I come from a family of film makers; my Dad is a film technician as are two of my brothers. I spent a lot of my childhood on film sets; summer holidays were spent appearing as an extra on Merchant Ivory [production film company] period drama shoots, with the likes of Helena Bonham Carter. I’ve known it all my life really, so I had a good understanding of what was involved.
I would say just try and work as hard as you can, be really enthusiastic and available, and do whatever’s required. I started off as a secretary, lots of people start as a runner. It’s about getting your foot in the door and getting known to people. A lot of it is common sense, really, like any job, so being there and being really smart and available and super keen, I think are the key things for me. And that’s how I perceive anyone that comes to us who is starting out. If they’ve studied an aspect of what we do, all the better – if not, a keen attitude to the work involved goes a long way.
London born Rollo has worked between the UK and the US shooting a range of award-winning TV, film and commercial productions. Previously in the role of director of photography, he has moved into directing, combining his acute visual sense and strong storytelling abilities. He sees projects through from conception to completion, for brands such as Nike, Barclays and the V&A.
Citizen Films has a history of working on films for Epson. The idea for this project had been around for a while in various forms. We were asked to take a look at how we could put it together. Part of the job is to take an idea and make it practical, real and flesh it out. That’s where most of the responsibility lies.
It’s finding the best people to work with: the camera, special effects, production and the props team. Everyone has to be at the top of their game to make it actually work on the day. We were very limited on time with Lewis Hamilton, so a big part of the job was to have sure everyone was working one step ahead of themselves.
We’d previously done a film with Lewis Hamilton for Epson, and we knew that he was incredible to work with. He’s very focussed and understands what goes on around him, so it was fun to work with him on this project. It was a really fun shoot too; it’s not often that you get to put together so many fun effects.
There are many different strands to it. The job is to take ideas that are on paper and make them work on screen. It’s not always clear how that will work, and I think it takes everyone on the project to figure out how that gets translated. Managing that is a really fun thing to do. And to do it with a sense of visual style; to pull off something that is visually really appealing, rather than just content. It’s a really difficult challenge.
It’s very hard to call it a job. This is a commercial project, so you have to deliver for the client. I love working with Epson and we always have a really good rapport about how to make things happen. That’s not always the case, but that’s just a part of the job. I also make narrative film work, and you have an emotional stake in those projects, which can be a challenge, but it’s great too. There’s not much that I don’t love really.
It’s the challenge of accomplishing things – that’s what I’m proud of. This project is a massive technical challenge. You hark back to those things. They’re the accomplishment. I’ve also made more emotionally focused, narrative work, which can be very challenging – but also the reason I became I director.
I started work experience when I was really young, about 15 or 16. I went back to work for one of those companies for about six months after college. The idea was that I was meant to go to university afterwards, but that never happened. My neighbour happened to be a director of photography so I apprenticed for him from the age of about 18 to 23. He essentially taught me everything I know. I got my big break after that. For about eight years I worked as a director of photography before moving into directing.
On my first job I worked in an editing suite and there were different directors in every day. I would ask every director how they got their job and each would give me a completely different story. There’s not one route. You’ve just got to do it and see what happens.
A really good bit of advice I heard was, ‘if you want to do something you will end up doing it’. If you want to make a feature film, you will end up making a feature film. There’s nothing to stop you doing anything. If it’s going to be any good, if people are going to watch it, if you’re going to like it - that comes down to your talent and luck. It’s not really a job. You have to take it on as a life choice and do it seven days a week, and if it works out, it works out.
I think you have to be confident in your taste; it’s a different thing from a technical point of view. That’s the only thing that differentiates you from anyone else. You can have all the experience, but people are only going to hire you for your taste and if they like what you make. Essentially, that’s all you’re there to spearhead. You’ve got to be really confident and bullheaded enough to see things through. You’ve got to know yourself, and really trust what you want. It’s not going to be perfect for years. After a few years it might start to make sense to you, but the only way you’re going to get through it, is to have a really singular vision of what you want to make. And then, eventually, it’ll start to make sense on screen.
Self-proclaimed goo specialist Sean has been working with Machine Shop since he left university. The special effects team are renowned for delivering original and exciting sequences, and in particular, live-action liquid effects. This work has taken him around the world on projects for the likes of Hyundai, Adidas and Schwartz Spices.
I was involved with the planning, testing and carrying out of the special effects for the film. On the day, we dropped liquids onto Lewis Hamilton using various methods, including a big oil drum for the main shot with about 100 litres of blue liquid, and then there were some smaller rigs that I built with cyan, magenta, and yellow. We’ve done this sort of thing before, but we normally call it goo. It’s representing ink at this shoot. It’s the sort of thing we do quite a lot. We’ve dunked pretty much all of the Chelsea football team and there was a project for Nickelodeon, which had some pretty big stars.
The printer also needed to throw out paper at a really high speed to create the flurry of paper surrounding Lewis. I was sent the printer to design a rig. At first, I very carefully unscrewed everything, and then I realised there wasn’t any room so I ended up chopping out all the fittings with a saw.
I’d generally describe my role as problem solver. It’s always different every week, so you learn a lot but it’s weird because the things you learn, you might never do again. It’s hands-on, but I also design stuff on computers in CAD and SolidWorks.
Dunking the goo; you never know with celebrities what they’re going to be like. Lewis was great to work with and totally got into the spirit of things. He even made goo angels on the floor after the shoot. Maybe his dream growing up wasn’t to be an Formula One champion, it was to get gunged!
It’s when you know that you’ve done a good job and that everyone’s happy. It can be nerve-racking. Other people’s kit is industry standard: the camera, the lenses, the dolly, the stands, the lights. It’s stuff that works and if it doesn’t work you get another one in. We have to bring kit that we’ve made on a budget in a short amount of time, so there’s the pressure of, is it going to work? There’s nothing worse than the feeling when you’ve built a rig that’s temperamental. You never get a chance to make it perfect; most stuff is only built to last for one day.
I did a cool shot for Harry Hill for Professor Branestawm. It was a Christmas special, and there was a stuntman on a bicycle that had to drive into a pane of glass with two guys holding the glass, with one of them holding a pyrotechnic on the bottom.
I had to detonate it; not too early so it wasn’t obvious that he hadn’t hit it, and not too late so that he actually hit the glass pane. It worked out; it looked brilliant. But that’s not life threatening stuff like people in movies; people do much more dangerous stuff.
There are different elements to it; there are people who just do pyros that love blowing stuff up. I consider myself like a problem solver; I create stuff. I enjoy the element of ‘can you do this’? Then you’ve got to work it out, build it quickly. It’s kind of like Scrapheap Challenge. Sometimes it’s stressful, but most of the time it’s satisfying to make something work, and people on set are like ‘oh wow! That’s brilliant’.
I did an art and design foundation course. I wanted to be an animator first, but my tutor gave me some brutal, but good advice. He said: ‘you’re alright at drawing, you’re not the best. But, you’re really good at making stuff’. He told me about a course at the Hertfordshire University which was model design and special effects. In my second year I did a placement at Machine Shop, which is where I am now. When I graduated, I went back and got a job there straight away. It all worked out.
It was for Schwartz Spices. It was super slow-mo with sacks of spices exploding in time to music. Because it was slow-motion, in real time, all the explosions had to go off within half a second. We had a clever electronics guy design a firing system, which could fire pyros to within a millisecond of each other. I had to work out the other bits so that when the pyro went off, it blasted the stuff on top of the skin, up in the air. I had to work out the size of the bucket, so that it didn’t explode, but had enough force to blow the spices up in the air. I had to weigh out all the ingredients, so that everything ended up at the right height. We went on set and everything just worked. It was a motion control shot as well so we had to synchronise the explosions with a robot arm camera, and we got every shot, first time.
Get your foot in the door and work on a good portfolio. I went through the university route, but to be honest, if I had turned up on the door when I was 16 with the right attitude, I could have done this as well. People won’t pay a fortune for someone who doesn’t really know much, so to start off, offer yourself cheap and help out. Even though I had a degree, I still started off helping out and making cups of tea. But, eventually you start to pick stuff up, you get trusted with little jobs, and slowly you become valuable. Have a good attitude and be enthusiastic. It’s long hours so just be willing to put in the work and you should be alright.
Starting out in a tiny town in Scotland, Jami has gone on to tour the world to tell stories through physicality. Now London based, he’s versed in instructing performers of all calibers, whether they’re on stage at the Theatre Royal Haymarket, or appearing in a music video or advert. Jami’s unique insight has been crafted over many years, having appeared himself on stage, and in front of the camera.
I’ve been brought in to keep an eye on the movement. It can be called movement direction or choreography. Most people think of choreography as learnt steps, but a lot of the time, in adverts, television, and often theatre too, you need something that’s not exactly choreography but it’s movement direction. I helped Lewis with some basic movements, finding what fit his body and what felt natural to him. Time is really, really limited on set, so it helps to drill these - that’s probably my most important function. The paint drops were really specific and we had to nail it. It was important to make sure Lewis felt happy and confident with the movements beforehand, as we only had one take of each paint drop.
It’s very exciting to work with someone of Lewis’ profile and stature. What I do is extremely visual, and this project completely relies on visuals, so it’s a great fit. It has been exciting being able to play with something so strong in its visuals.
Getting to be creative, coming up with ideas, seeing them through to fruition and seeing that put in front of a lot of people - that’s a pretty cool thing and not a lot of people get to do that. That’s pretty special. And creating on the day; you can plan and plan ahead, but you always have to respond to the challenges that are presented on the day, because nothing is ever perfectly the way it is on the storyboards or in your head. Thinking on your feet, and really responding on the spot.
Thinking on your feet! I suppose the most challenging part is never having quite enough time. But then, if you had more time, you’d just fill it and you might not come up with the same kind of things that you do under pressure.
I appeared last year in Doctor Who as a new villain, Colony Sarff. I’m also continuing to do some movement work with them.
I worked on a video for Depeche Mode. I never got to meet them because it was all filmed separately in a studio and then inter-cut with live footage of them, but it was a really beautiful effect. The members of the band and the people in the studio, were going through various physical movements, that kind of broke up into electric static and became pure energy. It was really beautiful.
Pop videos are always fun; they’ve got the creativity of ads but over a more prolonged time so you’ve got time for ideas, and time for more play. I did one for a Swedish group called Casiokids. The song was called ‘Finn Bikkjen!’, which is Swedish for find the dog, and they were running around the forest with the dog and there was a sequence with some strange alien looking beings, which I had to choreograph.
One of my favorite and most high profile things would have been working for Trevor Nunn for The Tempest in the Theatre Royal Haymarket with the likes of Ralph Fiennes and Nicholas Lyndhurst, and choreographing aerial work.
I’m also generally getting involved with motion and performance capture work.
I started as an actor, which I still do, and I moved into more physical stuff. I went to circus school, because I was already doing lots of physical roles, to get some training to do more of that. I took a couple of years out and worked solely in the circus in France, and then came back to Britain and did things like the Royal Shakespeare Company where they needed actors who could climb up ropes and fall down ropes and stuff, but could also do Shakespeare. All of those little things came together into a niche. I played Puck for the Royal Opera House because, again, they needed someone who could do all those things.
I focused on aerial work at circus school and studied mostly corde lisse [acrobatics on a vertical rope], although we did a bit of everything: bungees, trapeze and harness work.
Along the way, there’s always been things that have come up; either my own projects or other people have asked me to choreograph. This area of movement direction, it’s not quite like a west end show where it’s all about the steps and the high kicks – it’s its own thing. I’ve worked with companies like Punch Drunk and Frantic Assembly where it’s inventing new ways of telling stories through physicality.
It's a nice balance; I get to perform sometimes, but I really enjoy stepping out and being able to have the creative eye to look from the outside.
Nowadays they have things like dance and drama GCSEs - I didn’t have anything like that at my little school in a tiny town in Scotland. I just had to find it; I searched out drama workshops. I started with little low budget amateur sci-fi films. The guy who did the film that I was in when I was 12 went on to create Alien Wars, which was an interactive spectacle based on the Alien Films. He started it in Glasgow and it eventually came down to London.
I worked with a company called the Blue Raincoat Theatre company in Sligo, in Ireland. That’s where I picked up a lot outside of circus, a lot of my movement training, because they were all trained in Marcel Marceau, and Jaques Lecoq, so different forms of mime, and corporeal mime. I’ve basically picked up all my training through companies that have trained me up. The Royal Shakespeare Company trained me in Shakespearian verse and iambic pentameter and all that stuff.
On the one hand, there’s the whole – ‘don’t do it!’ Which is not very helpful. You have to know that you’re in for a bit of a roller coaster. Enjoy it and the randomness of it; the ups and the downs. Throw yourself into every opportunity that comes along; literally put yourself out there. I think you need to taste a little bit of everything - to know how it all works, what you don’t like and what you do like. Knowing how the industry works and what everyone’s jobs are. Do as many different things as you can; it gives you a better all-round knowledge.
Pepsi, Converse and Chevrolet are but a few of the exciting brands that Rina has given her deft touch to. This award-winning director of photography gives credit where credit is due, and is a champion for working with a collaborative spirit. She originally grew up in Japan, but now resides in London.
I’m the director of photography, so I’m basically in charge of the look of the film; the lighting, colours, the camera angle and movements. In pre-production I selected the key crew. I know that this crew are excellent at executing what we are trying to doing here. That trust gives me more headroom to think creatively, rather than concentrating on the technical side too much.
I enjoy working with my team because it’s a big, collaborative piece. And solving problems; it’s tiring but it’s fun coming up with the solutions. It’s rewarding when you wrap, and somehow you’ve pulled it off. It’s very satisfying. It’s a kind of satisfaction that you can’t get from anything else because it’s so stressful and there’s a lot of pressure, and obviously, with the money involved, you have to pull it off.
When I do commercials like this - and you include a famous person - the moment when they step into the shot and it completes the frame. You test the light on the stand-in, but you’re never quite sure if it’s going to work. But when the star steps in, the lighting looks so much better and all of a sudden the shot looks really special.
I hardly ever know what I’m going to be doing week-to-week. My schedule tends to change every day. For example, I might be flying to Jamaica on Thursday. My life is very unpredictable, so it’s fun in a way. You get to travel and work with lots of different people - every day is different. The downside to that is that you can never make it to your friends’ birthdays! You are always saying ‘I’m sorry, I can’t come’. I can’t commit to anything until the last minute. I try to book holidays maybe two weeks in advance. And then when I do go away, I get called back for a job and I have to come back early. It’s alright though, because I’m still young and I’m building my portfolio and doing as much as I can. You can be a lot more selective and chilled when you’re older.
This year has been interesting and I’m surprised and happy with where I am now. Last year I shot in Japan; I’m from Japan but I’ve actually never shot there before. I’ve been asked to shoot a few projects there, but I wasn’t keen on taking those projects on. But this one came along [short film, Lost Youth, directed by Taichi Kimura], and it felt really special so we went and did it. The director’s happy and it’s doing great, thankfully, for him and for me! I also shoot a lot of music videos.
I moved here about nine years ago to study English because my best friend lived here. I initially came for six months to study English, but I really liked London so I decided to stay. I had to study something for a visa to stay, so I randomly went to film school because I saw an ad on the bus saying ‘BA Film Making’, and I thought, ‘that would be good because I’m always playing with a camera’. I went to film school and decided I’d become an editor. I ended up camera assisting on a film set and I saw the DOP (director of photography) walking on set and it looked like a really cool job. I camera assisted on a lot of jobs and as a lighting technician for a little while, then I fell into DOP-ing and carried on doing it. It’s weird that I fell into it, but I really like this job.
It was really difficult. I think I was really lucky with my friends because we would help each other out. I could do the camera and lighting work and they could direct. We helped each other to become more established and experienced and I’m still working with lots of them. It’s really important to have a long-term relationship with your crew and collaborators, as it saves so much time in production. It saves so much money for producers too, if your crew know how you. We can say: ‘we’ll do it like that, like the project we did last month’, but do it better and cut costs doing it this way. You learn things that you can collectively take to the next shoot.
I think you really have to work hard - it sounds like a cliché. When I was at film school, I was working on film sets on weekends and holidays while some people were partying. I preferred working on set. I worked hard on tiny little jobs for two years. I didn’t get paid much, but that’s how you meet people and network. That’s how I got started and those relationships have continued until now. When you’re starting out in the industry, you need to find people that are talented, who make the work that you like, and hassle them to work with you. Obviously, you have to be good at what you do so that they will come back to you. And be nice to everyone, not just because they could become your director one day, but because it’s just such a hard job, and it’s not right to treat anyone any differently. Respect everyone and surround yourself with good people. And follow your heart rather than money, because it’s really important to select the projects that resonate, so that you will care and do your best to deliver. I tend to do projects I like in terms of the creative. For example, this project – I really liked the creative because I think that visually, it’s going to be very striking and it’s great because Lewis Hamilton is normally portrayed as such a seriously cool guy, and this is more tongue-in-cheek.
From photographing famines in Ethiopia to documenting Paul McCartney on tour, Matthew Ford has a rich and varied portfolio of work. By the time he was 23, he was working for The Sunday Times, photographing politicians and a range of influential figures. In every project, Matthew instills his unique vision and gift for storytelling.
I did the still photography on the shoot, including showing what was happening behind the scenes. I shot a lot of this on a Nikon D750; it provides the perfect balance between low light and resolution. We also used a high speed camera, the new Nikon D5, for the action shots. It shoots at fourteen frames per second. The whole process, from the beginning of the pour to the splashing, was perhaps three or four seconds, so I was able to take nearly fifty frames in that time.
There was lots of action and it had the look of a big budget Hollywood movie set.
It’s variety; I can go from work like this to photojournalism in Africa. That’s my thing; documentary filmmaking, it tends to be quite raw.
The long days. You can be working from 6am till midnight. If you want to be at home to watch The One Show, then it’s not the job for you. It’s not nine to five, but it’s not everyday either. But, if you have a passion for your job, then it’s not really a job.
Recently? Commercially? This one. The studio was the size of a hanger for a Zeppelin. It looked massive. And we got to pour ink over the world’s greatest racing driver.
Over my career, I’ve covered famine, conflict, the fall of the Berlin wall. You get to see human life from a different perspective as a photojournalist. But danger doesn’t necessarily equate to interesting. In life, often the most interesting things are happening around the edges of an event. It’s what’s going on in the side streets, rather than the central square. You have to dig out the real human stories.
I’m also shooting a documentary about the Playboy club in the sixties. That will take me to America, Switzerland and Saudi Arabia, so that will be interesting; it’s all about the age of glamour.
I went to art college; I’m dyslexic so I didn’t want to write things down. I came from quite an artistic family and got a camera when I was 14, and that was it. I studied photography and film after school. I left that course because of the famine in Africa. I wanted to be a photojournalist, so at 19 I backpacked and hitched to Ethiopia. There was a war going on. That was before the live-aid famine, so I was covering the refugee walks and camps within Ethiopia and Sudan. It was for about six weeks. I didn’t have contact with anyone from back home so they thought I was missing. When I returned, I got headhunted by a news agency and I was working for The Sunday Times by the time I was 23.
Do something that is big, bold and original to get noticed. There can be a fog of material on YouTube and the internet. There’s a lot to pick through and you need to get noticed.
You have to work for very little at the beginning, make the tea and run around on errands. Be prepared to work your way up; there’s a lot of people in the business that have done just that.
I think the trick is not to wait for people to give you work, you have to go out and find it. Give them ideas; ‘what about this? What about that?’ You have to feed in to the creative conversation.
With photojournalism you work alone a lot, so you need to be pretty self-sufficient, creative and come up with your own ideas. You’ve got to enjoy our own company.
It’s about hard work and the trouble is a lot of people don’t understand what hard work is. They want to knock off at six o’clock. You’ve got to be prepared for early starts and late nights, but it’s good fun and involves travel.
A friend of mine enjoys the Sahara so she started a travel company that specialised in touring deserts around the world. She found herself an angle which allowed her to do what she loved doing, all the time. If you love the sun, don’t become a penguin scientist!
The revolutionary EcoTank ink tank system has sold 15 million units¹ worldwide. It’s proved so popular because it provides a hassle-free and low-cost solution for printing. It's radical design features an ultra-high-capacity ink tank system that removes the need for cartridges, freeing you from cartridge purchases and replacements. This new system uses high-volume ink bottles², which are included with the EcoTank printer, allowing you to print up to an impressive 11,000 pages in black and colour³ . That means you’ll have an extremely low cost per page and your EcoTank will print many more pages between refills. Additional high-volume ink bottles can be purchased at a low cost to replenish the EcoTank.Learn More
Our EcoTank printers are used at home and in small businesses because they provide a hassle-free and low-cost solution for printing. Hear what some of our previous customers have to say about their experience.
To create beautiful shoes you also need a tireless printer - enter EcoTank. A designer's creativity must be set free, but there can be unanticipated breaks in the creative flow, such as printer ink running out, or the fear of it happening without having a refill. Vincent McNulty, a designer of shoes and leather items, solved that problem with a multi-function EcoTank printer from Epson.
Finger's says goodbye to cartridges with EcoTank. Menus, table plans, reservations, bills, orders and staff rotas: restaurants need to print a lot of pages every day, and cartridges can run out very quickly. Finger's Restaurant in Milan, Italy, solved the problem with the purchase of an L555 EcoTank printer.
1 Cumulative global sales of 15 million units in 150 countries and regions, achieved between October 2010 and the financial year of 2015
2 Additional replacement high-volume ink bottles are available
3 Figures based on the EcoTank ET-3600. Quoted yields are extrapolated based on Epson original methodology from the print simulation of Test Patterns provided in ISO/IEC 24712. Black: 11,000/Colour: 11,000 pages yield based on two ink bottle sets included with this printer. Black: 6,000/Colour: 6,500 pages yield based on 774/664 ink bottles sold separately. Quoted yields are NOT based on ISO/IEC24711. Quoted yields may vary depending on the images that you are printing, the paper type that you are using, the frequency of your prints and environmental conditions such as temperature.
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