Tina K Shoots Edweena Banger

We checked in with photographer Tina K this week, about her latest shoot with Edweena Banger, a transgender punk rock star. 

“This is an impromptu photoshoot with singer and multi-instrumentalist Edweena Banger at her gig in St Moritz this week. I hadn’t brought my lights for the live gig, and didn’t really want to use a direct camera flash, so we used a hanging ceiling light as our light source. It worked, didn’t it? 

© - Tina K

© - Tina K

 Edweena was born Edward Garrity and raised in Wythenshawe, Manchester, at one time, the largest council estate in Europe.  

Sharing a love of all things Glam with school friend Mick Rossi, who went on to form Slaughter & the Dogs, led to Ed being a roadie at the Sex Pistols legendary second Manchester gig in 1976, Slaughter & the Dogs being support.  

Following this, Ed formed The Nosebleeds and became a fixture in the 1977 punk wars, later being invited by Mick to be part of a new look Slaughter & the Dogs, releasing ‘Bite Back’ in 1980. Confusion, and suppression of who she really was, was a constant.  

Images ©Tina K 

However, you learn fast how to bite back with roots like ex-football hooligan Edweena’s, and I’m not talking about her hair… Heartache, and a brain hemorrhage (In 1991 she collapsed on a promo photoshoot on the verge of her big TV break to appear with Mark Lamarr on channel 4’s Access All Areas) all followed, but like another Wythenshawe survivor Tyson Fury, Edweena doesn’t pull any punches.

Oh also, I forgot to mention, we had such a laugh when we did the shoot. She is amazing, and amazingly funny!”

© - Tina K

© - Tina K

Images ©Tina K 

Edweena’s new album Diamond Rocks is out 14 December. 


Julie Edwards: Monochrome

Julie Edwards is one of our Sussex-based photographers. She is well known for her high profile celebrity event coverage from around the World. Her style is unique and her back catalogue impressive. 

‘Monochrome’ is a curated exhibition of her work which will be showing on the south coast from this weekend. The monochrome theme for her images captures the dreamy, old-age feel of red carpet events, while allowing in-depth exploration of light and dark shades.

We asked Julie why she favours monochrome over colour;

“So often I am asked ‘why do you shoot monochrome so much” or “why is your feed from #cannes all black and white’ I think if comes down to three things. 

1. I learnt to photograph in black and white on film like many photographers my age. I think that once you learn to see in light and shade, to read the light and how it affects the image, it is very difficult to see any other way and although I understand and control colour, #monochrome is my root. 

Image ©Julie Edwards

2. It’s the classic ‘Glamour’ image, think back to the images of the stars in the ’60’s, black and white, harsh light, I love that photography and in my own small way, I try to bring my version of this glamorous image. 

3. The final reason is quite basic. Stripping out the colour strips put a level of complexity in the
image, it leaves just the emotion, laying the person and moment totally open…”

Are there any events you have particularly enjoyed shooting?

“I love cannes - the nature of the red carpet- the positions of the photographers, the hustle and speed means you can make photographs there that are unmistakably “cannes” and which are like no other event.”

Monochrome is at East Beach Studios in Worthing, Sussex and will run from 20th November - 23rd December.

Image ©Julie Edwards


Diwali: Hayley Madden shoots at The Museum of the Home

It’s the final day of Diwali today, so we caught up with Hayley Madden, who recently shot an event at The Museum of the Home;

“This brief was to shoot the Diwali events that had been specially laid on by the Museum of the Home over the weekend and included an interactive Rangoli exhibit at the Entrance by Artist Bhajan Hunjan, storytelling by Vaishali Raithatha, diya decorating and Bollywood dancing workshops.  

 My main objective was to get lots of engaged participants and lots of colour. The museum was not too crowded which is actually better for events, as too many people can mean your views and options are more restricted. Getting the right balance of looking busy and not looking empty is a fine one.  

© - Hayley Madden

© - Hayley Madden

Images ©Hayley Madden

Taking events at Museums can be very tricky as not only must you be very aware (no one will thank you for knocking over a priceless exhibit because your lens wasn’t wide enough but your backside was) but the lighting is usually very dim and contrasty. You have to get your exposure spot on so you can pull up the shadows AND bring back the highlights in the post-processing.  

 Also, although there are notices informing people that photos are being taken, it is good practice to make sure everyone is aware of what you are doing before you start firing away by actually asking them for permission. I never try to sneak up on people or take photos without permission. If you are shooting all day, then you are bound to run into the same people over and over again so it’s best not to make enemies from the start. At the same time, I never set up any shots either and try to keep everything as real as possible. Once people get used to you being around the novelty soon wears off and they ignore you.  

Images ©Hayley Madden

I have to say, the new mirrorless range of cameras are amazing for documentary in museums. I’m a Nikon girl, and the Z6 was fantastic for this job as it is completely silent.  

 Museum photography may not the most well paid, but I love it as you get to meet the most interesting people and to photograph the most amazing things.”


Image ©Hayley Madden


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