What were your influences growing up?
As an only child I spent a lot of time alone in nature. We lived on a property with dogs and horses, and I’d head down to the river or the beach. Time spent in nature was a very formative part of my childhood.
While you were at university you dabbled in fine art and architecture – how have those elements informed your work?
I’m still very interested in art, especially painting and light installations. I often reference certain qualities when I start working on a new project.
Architecture is equally pragmatic, artistic and mathematical, much like photography. I became very intrigued by different qualities of light and the different ways it can give shape to a form.
Do you approach your corporate/fashion photography differently to your personal work?
Mysterious and intriguing images are the most interesting and powerful to me. When I’m not working to a client brief I have the opportunity to explore this in a more indulgent way. I like to keep this aesthetic with my commissioned works but in a more commercially safe way.
In both aspects of my work I’m very involved in the process of casting, selecting locations and developing creative.
How do you recharge your creative juices?
I have a ritual of throwing myself into the ocean, whenever I arrive somewhere. It’s the ultimate recharge.
"Mobile is making photography so accessible. Everyone can be a photographer, everyone can make a film. So for me it’s about authenticity and true creativity."
Tell us about the SemiPermanent and Facebook collaboration – what interested you about it when you were approached?
I liked the unique nature of this project and being able to tell a story with just four frames. It took some toying with the idea to figure out how best to tackle it, but I really enjoyed the process.
It was a great opportunity to work with both Semi Permanent and Facebook on a unique and exciting brief that would be viewed by the wider creative community.
What inspiration did you draw from the Dan Winters image?
I like the idea that with a photo booth everyone who enters emerges with a unique experience of having his or her picture taken. It’s like your own little world when you close the curtain for a brief moment of time – and your imagination determines the outcome of the images you leave with.
"I have a ritual of throwing myself into the ocean, whenever I arrive somewhere. It’s the ultimate recharge."
What was your approach to crafting the story specifically for mobile?
I was excited to use the Carousel format to tell a story. It really made me consider each frame and its significance. It was really important that I took the viewer on a journey, each frame played a key role in doing this.
I wanted the images to be understood at a glance and for each image to draw you in and flow into the next. Images that were understood at a glance was paramount.
What opportunities do you think the mobile-first world presents for creatives?
Mobile is making photography so accessible. Everyone can be a photographer, everyone can make a film. So for me it’s about authenticity and true creativity. That’s what stands out from the noise. It’s a wonderful opportunity to create something that reaches so many people on a device so personal.
What opportunities do you think Facebook and Instagram present for creatives?
It’s a very different viewing experience for both film and photography, I like that it’s an inclusive community of sharing, and an opportunity for people who have a unique vision or a great eye to reach a broader audience. The feed environment is really becoming an exciting canvas for the creative industry.
Check out Sylve's Carousel here.