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I was commissioned to shoot the new British Airways building at Heathrow, designed by Grimshaw and partners. I spent many months going back to it, and all around it, shooting pictures in different light to catch the textures of the building. The blueness of the building works well with the sunset colours, and carries a feeling of size and space with it, entirely appropriate foran airline.

Trelissick Garden

"The Dell', looking up the hill from near the bridge. with rhododenrons in bloom and a palm tree. A classic iconic image shot on a commission for the National Trust in Cornwall, in a subtropical garden. The soft mist of the morning made the soft colours look almost three-dimensional, and help give the illusion of depth.

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Inspired by a brilliant photographer named Slinkachu, I recently discovered that taking tiny people along in my pocket can make for a lot of fun, and together with my daughter we love to arrange the figures in unlikely places. These little people are climbing a tre?e in the woods, while we hope that the birds won't steal them

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A cold and frosty morning for the Little People to be out and working, and alucky shot before they disappeared....

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The photographer shooting Holly gives us a sense of scale-gone-wrong, and the ice is a bonus. Definitely not to be taken seriously

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Inspired by the tiny worlds that Slinkachu shoots, I took these little people out to see the floods near where I live, and I like the echo of three trees, three people, who seem obsessed in their tiny world and unaware that if any of them dropped off the fence post they would drown!

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A beach in South Wales, while I was testing out a new wide-angle pocket camera. I was astonished to find most of an otherwise sandy beach almsot covered in theses tiny shells, and the overcast light helped to bring out the texture of the shells

NM-SAfricanSunset1-w

Shot during a 2-week trip to South Africa teaching photography masterclasses, the sunsets were always very fast, and I had wanted to find this classic shape to use as a silhouettte for some time: As the sun started to drop I was running around in some backcountry bush, turned a corner and thre was the tree - I shot only 3 or 4 frames, and this is one.

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Shot for an advertising series of 'aspirational roads', this picture eventually showed the right warm light on the third visit to the location in Dorset

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Lighthouse and tidal rockpool at Pemaquid Point, Bristol, Maine. USA. NM-
Photographed during a road trip up the eastern seaboard of the US, this small tide pool made the whole picture worthwhile, reflecting the classic scene above. The scale is deceiving, as my camera was right next to the water and sitting on the rock, it had to be as low as possible to reflect the lighthouse. The warm evening light only appeared as a lucky bonus after waiting for some time for the large crowd of tourists to disappear from view on an otherwise grey day, and as the tourist buses left the car park and sun dipped towards the horizon, this extraordianry light emerged to reward my patience.

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After the rain, the sun revealed itself through a gap in the clouds, and as the security guard at the top of the Notre Dame cathedral in Paris was yelling at me to come down off the roof because they were closing, I clung onto the flagpole with one hand and gripped the camera in the other. The 'monochrome' colour creates a fascinating series of textures way off into the distance, all the way to towards La Defense on the horizon.

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The old lighthouse at the entrance to the harbour of Newport, Rhode Island, where I had been invited to talk during a week of photography masterclasses. This was shot during a road trip up the Eastern seaboard of USA, hunting lighthouses. It has been printed many times over on posters ever since

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Sailing boat on the Indian Ocean, in front of Le Morne Mountain on the Morne Peninsula, Mauritius. This idealised tropical scene is in Mauritius, shot while out on a dolphin-spotting trip in a small boat. The distant palm trees are hiding the luxury villa I spent my honeymoon at!

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Shot during a trip to Turkey for the Weekend Telegraph magazine, I saw this astonishing wind-eroded cliff as I turned a corner in the road as the sun was dipping to the horizon casting this extraordinary pink light across the stone. I dumped the car at the side of the road and sprinted with an enormous panoramic camera and heavy tripod along the headland to get this shot just in time, and 5 minutes later the light was grey and almost gone. Note the tiny olive trees in the foreground which give the litte stony field on the left some scale.

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Necker - An iconic desert island in a sea of blue. Photographjed from a helicopter while covering a story on Richard Branson's private island in the Virgin Islands for the Telegraph Weekend magazine

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The distant Malvern Hills, older than the Himalayas, are gently lit in the background by soft English light. The barn in the foreground was a bonus, found by chance on a recce trip when I took a wrong turn that turned out to be right. This picture, although quintessentially English, somehow reminds me of European landscape, probably prompted by the barn.

Lyme Park

The south front and Orangery at Lyme Park, the scene reflected in the shimmering waters of the lake. A classic large house with lake and perfect clouds. It was composed this way to accommodate space to put the masthead and title of the prroperty, in the National Trust house style, for a brochure front cover. Shooting a horizontal building to fit into a vertical shape is always a bit difficult if you are not to lose the building across the center, and so just the right amount of 'breathing space' has been left along the bottom of the image, to give weight to the reflected building above.

Hidcote Manor Garden

A detail of the pond in the Pine Garden at Hidcote Manor Garden. With Water Lilies and 'Hidcote' Lavender in the Background.

Holnicote Estate

An exterior shot of Ivy's Cottage, Selworthy Green on the Holnicote Estate, showing the thatched roof and windows. This is another National Trust classic, and has appeared on cards and calendars for many years.

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Caves in the Cappadocia region of eastern Turkey, where Troglodytes have lived for thousands of years. The evening light made the red earth and pink rocks look almost surreal.

8Trelissick GardenNM-SP-TreeAscent-1wNM-SP-TimberBoys-1wNM-SP-Holly1-wNM-SP-Floods01-wNM-ShellBeach1-wNM-SAfricanSunset1-wNM-Road-Wimb1-wPemaquid1-wNMpan-Paris Rooftops-wNMpan-Newport Light-wNMpan-MauritiusSailing-wNMpan-Cappadocia1-wNM-Necker1-wNM-Malverns1-wLyme ParkHidcote Manor GardenHolnicote EstateNM-Cappadocia2-w

Photography Focus

When words become unclear I shall focus on photography. When images become inadequate, I shall be content with silence.
– Ansel Adams
 

Photography is the easiest medium in which to be competent. Anyone with a point and shoot camera can take a competent picture. But it’s the hardest medium in which to express some kind of personal vision, because there is no touch, there is no hard physicality.
 

The fact that you can have photographs that are recognizable from 50 feet across a gallery as in say a Diane Arbus or an Irving Penn or that you can recognize authorship, means that the photographers have really done something good – because that’s a really hard thing to do.
– Chuck Close
 

The PRA is proud to present the work of leading editorial photographers where photography is their calling, their métier, and raison d’etre.

NICK MEERS : Photographer

 

Nick Meers has been a professional photographer for over 25 years. Growing up in the Cotswolds, he developed a love of the countryside that was sealed after travelling through the large-scale landscapes of New Zealand, where he abandoned sketching and watercolors in favour of grappling with his first 35mm SLR camera.

 

Nick’s first commission, after graduating in photography, was for a book on Paris in 1978 – one of over thirty travel publications that he since has produced. One assignment took him to the National Parks of California and Canada where the extreme scale and intimate details of these landscapes started Nick on a lifelong fascination with changing natural light and its effects upon nature.

 

After years of extensive travel, Nick continues to be intrigued by the many countries he has visited. His experiences have brought him a wide variety of assignments, and The National Trust is a major client frequently commissioning him to photograph their properties. Widely published, his work also has been exhibited many times, and purchased by private collectors.

 

He has written many articles for photographic magazines, and conducted workshops and master classes in England and the USA. He also has experimented with building his own cameras, including a 6x17cms panoramic film back conversion for his monorail 4îx5î camera, complete with leopard skin-patterned bellows.

 

After producing three publications shot exclusively in the ‘letterbox’ format, he has written his first book, Stretch: The World of Panoramic Photography, published in 2003 by Rotovision. The research took him across the world to find the most interesting variety of panoramic photographs, and included interviews with some of the world’s finest practitioners of the art.

 

Nick is a Member of the International Association of Panoramic Photographers, and the Association of Photographers in London, where he has served on the Council, and the Gallery and Portfolio committees. He is a passionate believer in the importance of copyright control for photographers, and has been a judge on many photo competitions, including this year’s Fuji Distinctions Awards and Travel Photographer of the Year.

 

Agency representation is through five stock picture libraries, and his panoramic collection of work is held in Chicago by Panoramic Images, and The National Trust Photographic Library has a large collection of his gardens and architectural pictures.

 

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CONTACT DETAILS:
Holly Tree Cottage,
Burley Gate,
Hereford
HR1 3QS
mobile: 07961 829829
email: nick@meersphoto.com
website: www.nickmeers.com