The life of an artist is a long and difficult row to hoe. Niall McDiarmid has been working as a photographer for over 20 years, largely for print publications. Recently, McDiarmid published two books Via Vauxhall (2015) and Crossing Paths (2013) that both feature portraits of people he has photographed on Britain’s streets.

McDiarmid seems to revel in capturing his subjects’ style, confidence and sartorial elegance. To coincide with Fashion Week in London, Vogue Magazine assigned McDiarmid to make portraits of young, dapper, diverse residents of London.

Publishing books and Vogue aren’t career moments that emerge overnight. It would be nice to say McDiarmid has gone from dungarees to Dolce & Gabbana; but the truth of the matter reads more like from dungarees to Dickies. Putting subjects at ease and making piercing portraits is a lot of hard work.

Here, McDiarmid gives us the scoop on his methods, motives and thoughts as he pounds the pavement (interview conducted by Cary Benbow of Wobneb Magazine).


Wobneb Magazine (WM): Over your career, and as you’ve grown personally and professionally, have you tailored your work to seek out specific jobs or work — or has the work found you?

Niall McDiarmid (NM): In my teens and early twenties, I sent short news stories to local newspapers and free sheets in Scotland, where I grew up. After I left university, where I studied engineering, I got a full time job as a junior reporter working in trade magazines. I travelled around the UK writing stories, mostly on agriculture and the environment. After a year or so of this, I started to supply photographs to go with the stories. From there, I returned to college to study photojournalism for a year.

I’ve worked freelance for magazines and book publishers since then. I can’t speak for others but I’ve always found making a living from freelance photography tough, so generally I’ve taken whatever jobs I can get. I even photographed someone’s cat once, as a commission. Oh, and a dog. It tried to bite me. It’s a long story.

WM: What do you feel makes a successful portrait?

NM: A connection between the viewer and the people in the photograph. If the photographer can add his or her own distinctive style that usually makes the photograph more memorable or successful.

WM: Why do you think people like to look at pictures of people?

NM: I think it’s a basic human trait, most people are interested in other people and a portrait is a way to explore that curiosity — the places we live, our cultural backgrounds, the clothes we wear, our family ties.

WM: Your career has bridged the age of analogue photography into the current era of digital photography as the standard. How do you choose to shoot digitally or work with film and film cameras?

NM: Most of the photographs I take every day are digital — on my phone, screen grabs, DSLR etc. Film photography is not a medium that suits the demands of modern commercial and editorial photography any more. Photo labs are few and far between and when images are needed quickly, on a limited budget, the old system of developing film and scanning seldom works.

However, I still choose to shoot most of my personal work on film. It’s what I started using as a photographer and what I still get most satisfaction from using. It’s a slower, more considered process. I can also achieve colours with film that I can’t replicate in digital. I also don’t think I’ve fully explored the world of analogue film use yet, so I’ll keep shooting with it till I have.

McDiarmid’s photographic style can be described as “straight,” “documentary” or even “street photography.” But make no mistake, McDiarmid’s stylistic approach often plays upon subtle use of color or pattern that is never arbitrary; it functions in highly sophisticated ways to connect elements and patterns in his subject’s clothing with their surroundings. In this manner, the people in his portraits are woven into the scene they occupy — an integral part of their surroundings.

As to this aspect of his work, McDiarmid says, “When I started the recent batch of portraits back in 2011, I didn’t have the intention of using colours as a base for the work. However after a few weeks, I realized that it was something I had an eye for. I began to see the way people’s clothing often matched or clashed with the colours that I found on high street shops or billboards and I tried where I could to combine these.”

WM: The stereotypical “street photographer” aesthetic is often candid, brazen, and raw. But your images are ones of inclusion, and not taken as if by a passive viewer. Many images also have a connection that is perceived between you and your subjects…what do you feel makes your work stand apart?

NM: I’ve taken series of images that are not collaborative, ones that would be considered more conventional street photographs in the past, and I still shoot a lot of those. However, I like meeting people and if I can use that in a way to take portraits that are somewhat collaborative, so much the better.

When I’m making the images, I’ll take maybe 2 or 3 shots maximum of each person. It has to be quick. I don’t want people to pose; just be as they come. A little apprehension, a little awkwardness and tension in the portrait often works for me. On a very good day I might photograph 7 or 8 people. On a bad day, none. None is a bad day.

As regards to photography and uniqueness, I suppose there are plenty of photographers who have done work like me and will do in the future. Whether it is possible to pick out my photographs from the thousands produced every day is hard to say — hopefully a few might might stick out.

I suppose we all strive to have a unique style. Some photographers, artists…call it what you will…get there. Then there’s another problem: editors and gallery owners call them up and say — “Oh, I love that thing you do, that ’style’ of work, that ’thing’. Can you do that for me?”

And then, plenty of those successful artists end up saying, “I’ve finished that style, can I do something different for you?” It becomes a trap: people want you to do what you got well known for . I’m sure the smart ones know when to move on, carrying some of the old style with them and developing it into something new.

So uniqueness and my work? — I wouldn’t really know. I guess that’s for others to judge, but it occurred to me that maybe the most successful photographers or artists were the ones who had one simple idea that they stuck to through their whole career. Also, they managed to maintain an audience and keep people interested in the work without ever deviating too far from their original path. Maybe in an age where there are so many new images being made, the artists who maintain a steady, unwavering course are the real pioneers, the real groundbreakers. Who knows?

McDiarmid’s list of photography influences includes names such as Diane Arbus, Joel Sternfeld, Vanessa Winship, and British photographer Daniel Meadows. Whether it is the documentary work of Arbus, Daniel Meadow’s work from Living Like This: Around Britain in the Seventies, Richard Avedon’s In the American West, Robert Frank’s The Americans, or Joel Sternfeld’s Stranger Passing— all of these books, all of these photographers, helped define how we remember the people and culture of the times and places they photographed. Niall McDiarmid is no different. His projects have consistently explored the possibility of a collective identity by documenting ordinary people and places throughout the UK.

Two of McDiarmid’s long-term projects, Crossing Paths: A Portrait of Britain and Via Vauxhall, were published in book format in addition to publishing the work online with dedicated websites. Both projects are series of portraits made by McDiarmid in his encounters with people throughout the UK over the past five years and specifically for Via Vauxhall, in the area surrounding the Vauxhall neighborhood of London.

The portraits in his projects largely have no mention of the person’s name, unless included in McDiarmid’s comments. The images are titled minimally by a descriptor of where the portrait was taken. Bodfor Street, Rhyl, or High Street, Poole gives the viewer a marker in McDiarmid’s travels, but also a feeling of the documentary undertow.

Wayne Ford, the British designer and creative director, said in his review of “Crossing Paths”:

“The portraits that form ‘Crossing Paths’ make a fascinating and engaging survey of contemporary society in the United Kingdom in the early 21st century, that reflects the cultural vibrancy and ethnic diversity of the nation; and like the work of [Daniel] Meadows in the early 1970s, ‘Crossing Paths’ is a social document that stands to be a significant cultural marker of the times in which we live, both now and in the historical context to follow.”

McDiarmid, albeit humbly, has garnered major awards, including a prize for portraiture in the 2012 International Photography Awards for his Crossing Paths portraiture project.

The recognition even includes a mention from one of McDiarmid’s own influences. In an interview coinciding with a retrospective of Daniel Meadows work, Meadows was asked whose work inspired him as a student, and who inspires him now. Meadows listed the past influences of Bruce Davidson, Josef Koudelka, and Sir John Benjamin Stone — and the short list of current inspirations included Niall McDiarmid’s own portraits.

WM: How do you personally process the wide-spread attention your work has garnered? Has it changed the dynamic in your day-to-day?

NM: It’s incredibly hard as a freelance photographer to sustain a career over many years and it’s only getting harder. The money is very tight and there are days when you question your sanity and ask yourself, “What am I doing this for?” But after 25 years as a photographer, I have come to realise, it’s a large part of my life and probably always will be.

One of the positives of the recent changes in photography is that those coming into the industry now know from the start that it’s a challenging way to earn a living. Many photographers now have to earn a living doing something unrelated to taking pictures. In a way, that can be liberating experience, particularly where personal projects are concerned.

In the past, I think there was a tendency for photographers to create a series of personal work with a view to how it might be used commercially, maybe in a magazine. Now, although the money is much reduced, the internet has given us all the freedom to do as we like without worrying so much about where the images might be used.

Back to your question: I am glad that people enjoy following my journey, but as regards to wide-spread attention, I wouldn’t know. I try to just keep going, keep getting out as often as I can. My life feels like a chaotic mix of chasing around after my children, shooting my personal work and trying to earn a living as best I can — mostly very badly. Professional is not a word I associate with myself too often, but I hope to be professional one day!

With so much new photography out there and so many outlets: ­galleries, magazines, newspapers and online — it is increasingly hard to get your work recognised. That’s why I try hard to carve out a style that people can relate to. Hopefully, I’ve gone some way to achieving that. The next challenge for me is to sustain that work and continue to develop it.

WM: The people and the locales in your portrait work have the common aesthetic of your eye and your style, but the people you photograph are very diverse. Is there a shift in the types of people and communities you’ve encountered over the years?

NM: I’m interested in changing population, changing communities, and multiculturalism so, yes, the people in my work are diverse. I am very interested in the idea of a large body of work that covers the whole country in­ an uncomplicated, democratic look at people at this time. I’m very interested in colour and shape and how it is present in our everyday life even though we often don’t notice it. There are noticeable differences between towns across the country I visit; ­different ethnic groups and different economic situations, but I would rather not label them.

I’m not specifically trying to create work that defines what it means to be British; or Scottish, Welsh, or Irish for that matter. I would rather people just look at the images and make their own minds up about Britain and how it is changing.

More people from different backgrounds are coming to live here than ever before. I try to show these changes in the people I meet. Whether those who view the photographs pick up on that, I wouldn’t know. But multiculturalism and shifting demographics are at the core of the work, particularly the portraits.


Indeed, when looking at the sea of faces McDiarmid has captured in his work, it is easy to pick up on all the similarities across our global, and increasingly multicultural society. His growing collection of UK portraits has all the same types of people, whether you are in London, Chicago, Paris, or Indianapolis.

Certain motifs appear and reappear. White earbuds hang around necks, people of all different skin colors travel to and from work. Subjects gaze into phone screens of devices the same the world over, and they carry shopping bags or wear clothes with identical labels. We can point to common threads in McDiarmid’s growing “family album.” We live in a global village and these faces reflect the richness of the fabric of society in London, in the United Kingdom, and in some sense, the world.

—Niall McDiarmid interviewed by Wobneb Magazine


Originally published in
Wobneb Magazine, an online magazine featuring contemporary photography. Follow Wobneb on Tumblr, or Twitter.