Interview: Photographer Andrew Macdonald (Scotland)

Can you tell us a little about you?

My name is Andrew, and I am the principle behind Killer Heels Photography. I won the Best Photographer category at the UK Fetish awards in 2020, 2022 & 2023. I have had four books published. My photography has featured on the cover of several fiction novels, record sleeves and over 100 magazine covers. I am currently enjoying my golf when I can get to play.

How and when did you get into photography?

Its now honestly hard to think of a time when I didn’t have a camera in my hand. I’m approaching my 58th birthday, so it would be reasonable to think that’s over 50 years now. Without going into sad detail about childhood, I was never going to be able to go to Art School, but a part-time job doing D&P for a local photographer certainly kept the dream alive.

The military and Engineering filled a gap before I was able to actually apply time and resources to fulfilling the passion.  I have been shooting rubber clad models now for some 15 years.

What does photography mean to you?

Photography is a means to take something from my imagination and put in a format where other people can see it.

Please briefly describe your photography style for our readers.

Fetish Fashion is a term I have decided upon over the past couple of years. It succinctly puts together the main attributes from a shooting session. I like to present the work as clean and  sharp, shined as close to perfection as possible.

Where do you get inspiration from?

I believe as photographers, we are naturally voyeurs. So you are all very likely going to be inspired by what you see around you. Be that in ‘real life’ or the vast array of media we are confronted with on a daily basis.

A lot of movies have the hero character being somewhat ordinary, but to succeed, they have to do something extra-ordinary. I really like the idea of the ‘unusual’ doing something very ‘normal.’ It provides a fun narrative and an alternative perspective.

Do you think in advance what you want in the picture?

Very much so. There has to be at least an element of a defined outcome, otherwise you’re just banging out frames hoping to get lucky. So many models and MUA’s that are on shoots with me compliment me on my planning. It makes for an easy day.

My process is: idea, outfit, model. There is the odd occasion where this can be reversed, if there is a particular model I’d really like to work with.

Studio, on location or both?

Easy one: Studio! I have shot on location, but its very rare, more so if I have a choice in the matter. There is so much you’re not in control of on location, least of all the weather. The studio is a wonderfully controlled environment, without time constraints etc. You can control the lighting, the room temperature, the pace of the session. Why would you not choose that?

Would you consider yourself a hobbyist or a paid professional?

It provides an income, but I’m close to coming to the conclusion that I only want to take on shoots that interest me now. Which is a nice position to find myself comfortable with. I still want to be inspired and invigorated by a session. Not something ‘by the numbers’ and unfulfilling.

What has been your most memorable session and why?

There are a few images that stand out; Walkies II and Mortuary Mermaid readily spring to mind, as they both ably demonstrate the peak of planning, execution and outcome.

The Wonderland session will be an obvious one to select too. And I think for all that were involved in that too. Again, the planning, the casting, the set. Conceiving personality back stories for the models of how their characters would change depending which other character they would interact with on set.

As Alice in Wonderland is a very popular story, you have to try pretty hard to come up with a bit of originality for your take on it. I think the team that was put together for this concept did that ‘wonderfully.’

The fact the session was published as a book is a testament to that success in the studio.

Nikon or Canon? Favorite lens?

I am a Nikon user, but it you’re going to push for a favourite camera, I’m going to pick my Hasselblad H5d. I have a couple of Nikon D3x bodies, a 50 f1.4, 85 f1.4 and a 105 f2.8 primes, along with 14-24, 24-70 and 70-200 zooms, all f2.8.

The ‘blad glass is 28mm f4, 80mm f2.8 & 55-110mm f3.5-4.5 zoom.

The Nikon is great, and the 24-70 provides a very usable range in the studio. Allows you to be nimble and mobile. The Hasselblad is a more ‘considered’ approach, but the detail it can capture is just incredible. It’s not unusual for me to swap cameras during a session, depending on look and set up.

What is one piece of advice you would like to offer a new photographer looking to start their own business?

Have lots of cash! It’s become a rather saturated market now. First with the advent of digital cameras and digital darkrooms, the likes of Photoshop and Lightroom. But post covid, and certainly in my own market, I’m competing with people shooting in their bedrooms on an iphone with a ring light. That’s basically zero overhead costs. Quality has certainly taken a dip, and in a market with such a huge choice, it is clearly no longer a primary consideration.

What do you think of our new magazine?

Looks good. Quality images and an easy look layout. Nice mix of interviews and pictorials.

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