Personal one - Christopher Ireland interview
Introduce yourself and your journey
I began in advertising, working on large commercial campaigns. After years at that pace I shifted focus to long-form personal projects, some spanning more than a decade. Those projects reshaped my understanding of what photography can carry and taught me patience and endurance.
Style or approach
My work sits between craft and emotion. I aim for quiet intensity, stripped back and raw, with an interest in moments where strength and vulnerability overlap.
When did you first hear about this exhibition?
It has been on my radar for a long time. The idea of gathering leading photographers into one space creates its own energy.
“ Film forces patience. Digitalallows responsiveness. Lighting is a way to sculpt mood.
First time or returning?
I have been part of several past editions. I would call myself a regular. Strongest memory of past exhibitions
What stays with me is the way the work shifts when it comes together in the room. Seeing the dialogue between very different images reminds me why collective exhibitions matter. How it felt to see the works on the wall? It is both humbling and energising. A single image takes on a new charge when it stands beside the work of peers.
What does it mean personally to be part of it?It affirms that personal work has a place in the wider conversation. Being shown alongside others I respect keeps me honest.
What do you hope audiences take away?
That the image stays with them. If it lingers and makes them think differently about themselves or the world, that is enough.
How do you see the photography scene today?It is fast and fractured but there is a clear hunger for authenticity. Younger photographers are cutting through by making work that feels personal and uncompromising.
“ Younger photographers are cutting through by making work that feels personal and uncompromising.
Has the exhibition influenced your perspective?Yes. Seeing work side by side sharpens the eye. It makes me ask whether my image holds its ground.
Recent projects, I recently completed a fourteen-year project with a social housing community which showed at Sydney Contemporary. I am also directing a feature documentary on photographer Gary Heery.
Future projects
The film is the big one. It has been years in the making and is finally taking shape.
Past milestone project
My project BREATHE, which toured nationally, was a turning point. It showed me that photography could be more than imagery and could drive awareness and change.
How has your photography evolved? I once made images to impress. Now I care more about connection, resonance and endurance.
What inspires you right now?
Conversations with people who do not see themselves as subjects. Ordinary voices, when given space, are often the most profound.
What equipment are you using and why?
I work with large format film which I process myself, alongside medium format digital. Film slows me down and sharpens my intent. Digital allows me to move fluidly when needed. I use both continuous and strobe lighting depending on the mood. The mix gives me control as well as room for surprise.
How does gear shape your process?
The gear is not about showing off technology. It shapes the rhythm. Film forces patience. Digital allows responsiveness. Lighting is a way to sculpt mood. Influences? Working with Gary Heery early in my career was formative. He showed me both the discipline and the chaos of making images at a high level.
Advice to amateur photographers?
Stop chasing perfect pictures. Look for what unsettles you. That is usually where the good work hides.
Anything to add? It is a privilege to be included. Photography has been my way of making sense of the world for two decades. Sharing it in this company feels right.
Here is Christopher's web.
