The Beginner Photography Podcast

515: Steve Rolfe: Simple Storytelling Techniques for Unique Photos

• Raymond Hatfield

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In this episode of the podcast, I chat with Steve Rolfe about his captivating creative process using little people figurines in his photography. Steve shares his approach to developing scenarios, prioritizing simplicity in storytelling, and the importance of trial and error. 

THE BIG IDEAS

  • Plan Your Scenario First: Develop a clear narrative before choosing the location. This foundation ensures your photos tell a compelling story.
  • Keep It Simple: Aim for easy-to-understand, organic images. Simplicity enhances the viewer's connection to your work.
  • Embrace Trial and Error: Use feedback and iterative improvements to find the right balance in your storytelling. Learning from mistakes is key.
  • Stay Inspired: Regularly seek inspiration and let your environment spark new ideas. Consistent creativity keeps your work dynamic and fresh.

PHOTOGRAPHY ACTION PLAN

  1. Create Small-Scenario Tables: Design miniature sets on small tables or surfaces to experiment with storytelling. Use household items and small figurines to navigate through different scenes.
  2. Focus on Storytelling Over Location: Outline a brief story for each photo scenario you want to capture. Select locations that naturally complement, rather than dominate, your narrative.
  3. Simplify Your Compositions: Limit the number of elements in your frame to avoid unnecessary distractions. Use a central subject and minimal props to retain the viewer’s focus.
  4. Gather Feedback: Share your work with a small, trusted group to receive constructive criticism. Implement the feedback and observe how it transforms your work over time.
  5. Experiment with Different Props: Visit local hobby shops to find unique miniature items that could add character to your scenes. Test different combinations of props to see what works best with your overall theme.

RESOURCES:
Visit Steve Rolfe's Website - https://www.steverolfephotography.co.uk/
Follow Steve Rolfe on Instagram - https://www.instagram.com/steve_rolfe_photography_/
Follow Little People Media on Instagram - https://www.instagram.com/little_people_media/

Grab your free 52 Lightroom Presets at
http://freephotographypresets.com/

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Thanks for listening & keep shooting!

Steve Rolfe:

Sometimes less is more. Sometimes you don't want to overcomplicate because you as the creator know exactly what you're doing but a reader a viewer might not understand it. So it can get lost in translation. I think keep it smart. Keep it simple and then that makes the reader understand exactly what's going on.

Raymond Hatfield:

Hey, welcome to the Beginner Photography Podcast. I'm your host, Raymond Hatfield, and each week I interview one of the world's most interesting photographers to learn what it really takes to capture beautiful images so that you can start to do the same. In today's Rewind episode, I'm chatting with creative photographer Steve Ralph about using his imagination and his camera to create a very unique photo book project. But first, the beginner photography podcast is brought to you by Cloudspot. You all know this. Cloudspot helps you sell your photos through prints, products, and of course, digitals. You can set up a storefront in minutes and start earning more with every single gallery. So grab your free forever account today over at deliverphotos. com and only upgrade when you are ready. Today's guest, Steve has one of the most like fun and just unique photo book projects that I have received in a while. Honestly, Steve uses these tiny toy figurines, out in public to create images that are just fun and have this beautiful, like. Childlike wonder. So before we get into today's interview, I highly encourage you to check out Steve's Instagram, which is linked in the show notes, just so that you can get an idea of what it is that we're talking about. but today, Steve is going to share a lot about his creative process. we talk about, how to create such simple images that are so powerful and impactful without being overloaded, with too much context. We talk about how he pitched this quirky concept to publishers and possibly most importantly, Steve talks about how to maintain a vibrant creative spirit as you go on throughout your photography journey. So again, lots to talk about. So I invite you to join in on the conversation over in the free beginner photography podcast community, which you can join over at beginner photopod. com forward slash. That's it. Why don't we go ahead and get on into today's rewind interview with Steve Ross? Steve, my first question for you is an easy one. I just want to know, when did you know that photography was going to play an important role in your life?

Steve Rolfe:

It was a slow burn. I think, I dabbled with photography when I was younger, just normal film, but you send away to get processed and everything else. And as a teenager, but nothing really stuck, you know, I could take or leave it. 2010 was a watershed time, Christmas, I was in a bookstore, picked up this book of, street photography, and I was captivated by the images and I thought, yeah, I could have a go at this and it really struck a chord with me, so I thought, okay, so I bought the book, And then, didn't have a camera, my wife had a bridge camera, so it was a Panasonic, so it was, not a SLR, it was not a compact, it was in the middle. So I started doing the photography, now the book of, I picked up was the little architectural figures, one and a half inches high, in the real world, so I thought, yeah, Bought my own figures, and started the creative process. And it was, as I said, it was a slow burn because I was doing it as a hobby at weekends, I was still working within civil service with government job. It was only when I had a couple of things published in magazines and papers of the little people, And when I took redundancy in 2014 from the job, my wife, who is a self employed interior designer, that was the inspiration for me just to think, well, why not? I've been in the job 22 years and I thought, yeah, let's just go, let's take a leap of faith and go for it. So that's when it all came really serious for me in 2014 when I started as a professional photographer. But I still do the little people that was where my inspiration started and the creativity so I still do scenarios. so yeah, that's where it started. I suppose 2014 was when it really got serious. And that was four years into my sort of career stroke hobby.

Raymond Hatfield:

Yeah. the photography journey there. when you first picked up that book of street photography, I know that, street photography, like you said, it struck a chord with you. It strikes a chord with a lot of people. why, what was it about the images that you saw that made you think differently? would that be the right, term?

Steve Rolfe:

Yeah, I loved the American TV series of Giants, and obviously, I saw it not on the first run, um, how many runs did it be? So yeah, I picked it up in the 90s when it was being replayed umpteen times on, over in the UK. As I said, that was just incredible to see this spaceship that crash landed on another planet. And yeah. they're small, they had their life and it was another world within that world. So that struck the chord for me that I could do something similar to that. So, yeah, I suppose that's where it was all born out from, was TV series.

Raymond Hatfield:

Before this, would you have considered yourself maybe growing up? Creative minded? Did you have these creative interests or hobbies or was it photography that turned the tide for you?

Steve Rolfe:

It was photography.

Raymond Hatfield:

Really?

Steve Rolfe:

Yeah. It was photography that really set the ball rolling for me. It set the, sent me on this path. and it really creative process wise really did kickstart the creative. I can't walk around anywhere now without looking down, without thinking is that a good photo. I take the camera everywhere I go. If I didn't have that on my mobile phone. So yeah, I'm always looking to take an image or two and it's just something that's switched on now and it's, yeah, it can be frustrating for some people if you're walking in town with your wife or whatever your son, and it's just like, you know, taking photographs. And it's just like, yeah, okay.

Raymond Hatfield:

No, I get that. that's something that I hear a lot from, listeners as well as, there's a lot of fear actually in bringing your camera out. cause of privacy concerns, everybody's concerned that, you're going to pull up a camera and somebody's going to say, Hey, what are you doing? And it becomes confrontational or whatever. but you kind of were able to go a different direction than that with, your images. I know that, talked about your book. Here we go, small world here in the intro, but for those who are either driving or they're at the gym, could you describe the types of images that are in here and how you go about capturing them?

Steve Rolfe:

The images are street scenes that I've created, I've taken inspiration from all sorts of places, and it's basically small little railway figures, that you might have on a, model railway track, and, you see the little people, and I use them to, make the scene look natural. I put these figures up, and, I create scenarios around the little people. and the scenarios can be varied. some have a humor element to them. Some have, more thoughtful. The strangest one I, think I did, it was a prison break, in Gloucester where I live, there was a prison, it's now closed, and I just had these three little figures. Painters, prisoners, and I thought, yeah, one Saturday night, eight o'clock in winter. So it was dark and I'm thinking, yeah, okay, let's do this. So I'm ferreting around the bottom of this prison wall with a torch, putting my little figures to create a prison break. And there's sirens going off in the distance. And I'm thinking, am I really this stupid doing this? I managed to get a few images. they weren't the best cause obviously with the torch and the lights and everything else. And as I always do, I leave the little people there, to be found or to be left, whatever, for a morning went back round and nowhere to be seen. So either they were kicked along or prison officer has gone around to do a search and they ended up back in prison. No one knows, but yeah, it's a mystery. Yeah. So, chocolate bars are pretty good to use, crisps, all sorts of things that come out with, it's just, whatever's in my mind at that time, there are parts of the book where it's, Welcome to Britain, where we have burnt out cars and children playing on burnt out cars, and it's just creating, a very urban look to real life, I suppose.

Raymond Hatfield:

This idea is something, I think when you first see it, it feels very novel. It's oh, I get it. this is fun. but I don't think that it's something that many photographers, maybe newer photographers would think to start to put together. So for you, right, you said that you picked up these, the figures, that go in that are, for train models and whatnot. Why not just stick to, landscapes or, sunsets like, the majority of beginners do?

Steve Rolfe:

I do photograph landscapes, but it doesn't have that photography. genre of photography is so vast, and for me, landscape is, there are some incredible landscape photographers out there, and they have no human element whatsoever within the image. It is just nature itself, which I can appreciate. but for me with the little people, it started that journey and inspiration and creativity and I love street. I love cities and it's that whole vibe of life going on. and you put the little people to one side and then you're just taking, I do true street photography, which is candid, which is basically catching people. Going about their daily business, so you had to learn to judge where you're shooting. you don't put the camera to your face, you hold it into your body. So it is mid riff. so that people can't see what you're doing because it's huge. You put your camera up to your face. They know exactly what's going on. that's why mobile phones are brilliant because everyone's got mobile phones and you can take some photos with a mobile phone. So it's capturing people, as long as they're not doing anything illegal, as long as you're on public land, It's creating that image and looking to see where the light is, what's coming up, using street signs, having some humour to it, capturing reflections in shop windows. it really is endless. but yeah, that's why I prefer that more than going off doing landscapes or shooting wildlife or whatever. I think everyone has that little niche, they just can't. It's just, in the end, she can't stop scratching

Raymond Hatfield:

So, when it comes to street photography though, when I think of street photography, It's much more reactionary, right? Because you're kind of at the mercy of whatever happens around you. Like, of course you can look for things like opposition and light, but as far as kind of the moment you have to wait for something to happen. Whereas these images that you create with the tiny people here. planning of intention. So do you feel like it's two different mindsets or do you feel like it's just simply an extension of one another?

Steve Rolfe:

it could be an extension of one another. With the street photography is just a question of, some photographers will go out with a point of departure. Basically, that means that they will, Go out with a pure reason for to shoot a certain specific subjects where it might be buses, it might be people with red coats or whatever. I go out I just emptied my brain or mind of everything and just see what the street gives me. With the little people, there's planning. of the images in the book is a little person picking up, things that have a burger. It's, The gherkins, as we call them in England, they're, like savoury cucumber, and then they put in certain, mainstream burger joints, they put them in burgers. Now I take mine out, percent of people take them out. And they end up on the floor, people just don't care, they just stick them on the floor, so we had this, burger, a meal, was last year, and I saved some of the gherkins. Put them in a plastic bag into the fridge for two weeks because I wasn't ready to use them. Sourced out what I needed. I had a little person, a little road sweep man to pick them up. I needed a backdrop of where the gherkins came from. So you have the correlation, you have the connection, and then it's trying to find the pavement so that it Fitted really well so the man wouldn't be hidden you can see exactly what's going on. So I found what I wanted. uh, took the gherkins out with me. I took the little person, I found the right time of day, place them onto the floor, onto the pavement or sidewalk, and then shoot, the scene. So then I shoot aperture priority, because I find it's the best way, on the cameras if anyone, if anyone wants to help. Because then you can focus centrally, get it nice and sharp, and then the backdrop is slightly blurred. So the burger joint is quite well famous. you have that in the background, you have the little person picking up these gherkins, so you have a complete connection with what it is. So it's not just some random thing on the floor. and my question, the name that I originally put was YYY, was because most people take the night, most people just bin them, why put them in?

Raymond Hatfield:

Huh. wow. Okay, when looking through the book, as I think I said earlier, there's this whimsical quality to the photos. As if, you're just walking along, you see something, interesting on the ground, whether it be a piece of trash or some gherkins on the, on the ground. And then you set up your figures that you have there. but hearing your explanation there, it sounds Quite a bit of planning, goes into making these images look very organic, is that right? Is that the intention?

Steve Rolfe:

Yeah, that's it. Yeah, it's organic, yeah. Over in England we have a chocolate bar called Mars. And that's in the book as well. So I had some men with chemical suits. And I wanted to do something, and it was around the time when Mars was being discovered. And, so I had this Mars bar with me. Again, I had it with me for about two weeks, three weeks, trying to source out a location that was good on the sidewalk. Had the little people, so I thought, yeah, okay. So I managed to find a location, had these. I took the end, I ripped the end off the Mars wrapper, took a chunk off the end, so you can see what's inside it. I had the Mars wrapper showing, So you know what's going on is Mars and the little people all with the asthma chemical suits all over this chocolate bar and it was basically you don't need to go to space to explore Mars,

Raymond Hatfield:

right? Wow. So Looking through the book, I mean, that was going to be one photo that I was going to as an example, because it just looks, again, as if you had just stumbled upon that scene, seen the half eaten Mars bar, put those guys down, and took the photo, and you were done. there are other photos that definitely look like more planning went into them. I believe the one called, nothing to see here, there's a tiny figure and she's cleaning up also a tiny body chalk line, right? And I could tell that, you didn't just stumble upon that tiny body chalk line, right? So like you had to manufacture that. Are there any photos that you just, show up and say, this is great, just the way that it is, here we go, put down my guys here and, snap the photo and you're done. Or does each photo take quite a bit of planning and preparation?

Steve Rolfe:

All take planning. Wow. there's only one possible in the book and it's the one with the beer can. And I saw the beer can and it was in that location. thought, okay, I can do this. So I got a replacement beer can, and then I used, the little people, two police officers. so that was one of the probably easiest ones to create. so over in the UK, we have a program called I'm a Celebrity, and it's basically celebrities that are taken into the Australian jungle, and they have to do trials, and they're there for three weeks, and they, have to do trials, They can't eat normal food, whatever they have to, so and they have bush chukka trials. So the original name for that was I'm a celebrity. So he was doing a bush chukka trial where he was drinking the beer and he fell out. So the two police officers are there waiting to arrest him. So it was, As I said, that was probably one of the easiest ones I did, because the beer can was already there in situ or one was already there. And I just thought, yes, that would work really well.

Raymond Hatfield:

Yeah. Oh my gosh. Okay. So my whole, thought process when coming up with, questions in my head now has completely changed because I thought that the, process of capturing these images was, much less involved, I guess, than what it actually is. So this is really interesting because now you have. quite a number of these images that you have, produced. Here's how I thought it went, right? You go out, you see something interesting, you're like, this is great, I'm gonna throw my guys down, snap a photo, keep walking down the street, oh, that's interesting, throw down my guys, take a photo. That is not the case, you're saying. So, when it comes to each and every photo, Where does the ideas come from? I mean, you said that you walked around with a Mars bar in your pocket for a few weeks, you had to have an idea for that photo, and then you just had to walk around and source it. where did these ideas come from?

Steve Rolfe:

That's the thing, the creativity, the process, I've been creating these scenarios. Since 2010 you look back at my original ones and it's really quite the difference with the quality it's a million miles but the creative process grows and for me idea has just come along. as I said, you can be walking along, just to get some photos, just to go out for an hour, and there might be a few images there that might be, that might come up and think, yeah, that would really well, that would work really well. So, I've got the idea. the location, but then it's, what figures am I going to use for so many, I've got such a back catalogue of images and when I sent over to Trope the publishers, they picked and choose which ones they wanted. and then they asked, what, have you got more? Have have you got more? So then I started to create new ones. and that is easier said than done because I went three weeks and I had Numb. I had nothing in my head. it was, bright as block. Oh no. And I'm thinking, this is getting serious now. but within a space of a week, you can hit so many new ones because it sparks, the creativity can spark. And it's like, yes, I got that one. And then that can lead you on to another one. And then it's another one. it's like in the book, you've got grandpa's boombox. I found the, headphones. So those headphones I found on the street. And I thought, yeah, we can do something with this. So I wanted to make a play on something slightly different. So I had the old man, and it's his boombox. it's him trying to be young and trendy,

Raymond Hatfield:

when it comes to these images, does the scene develop first or do you look at the figures and try to, manufacture a scene in your head and then go, try to find that?

Steve Rolfe:

Yeah, it's getting the scenario first. Then the location. it's getting that scene. It's getting the germ of an idea, the germ of an idea coming through. And it's yeah, okay, what can we do with this? So I might have the little people ready. So it might be police officers. It might be litter picker. Yeah, it could be any of the little people that I've still got. And it's like, well, what we can do with these. So then, an idea might come along and then it might take me a couple of weeks to source the location. It's like with the litter picker, with the rubbish from the burger, I wanted a decent set. I didn't want a generic pavement of tarmac that we have in the UK. I wanted Concrete it stands out so much better. So yeah, the location comes secondary. To be honest,

Raymond Hatfield:

I think what I love most about looking at these images, and I don't think I gave them enough appreciation for this, is just how organic they look, right? and I think that a lot of that is that they're not giant stories. They're very simple. you look at the image, you know exactly what's going on, and it's easy to consume, and it's fun. And, there's a childlike quality about that. How do you know, As a photographer, that the story is, good enough or that it is, strong enough to fulfill an image. And have you ever gone overboard? Have you ever tried to include too much in an image to where it just, it didn't work?

Steve Rolfe:

I think it's, you play with it sometimes less is more. and I have found that when you have too many characters within this scenario, they can get lost, it can get muddled. so sometimes keeping it simple is the best way of doing it. with regards to photography, sorry, can you repeat your question?

Raymond Hatfield:

Yeah, of course. No, it's all about just trying to figure out, if you've made a story too big. It's hard work to keep photos simple, right? Uh, because we always are trying to tell the biggest story possible, I think with a camera. And I think that you've done this so, so well in these images to keep these stories small. I'm just interested in knowing, is that in you as a person, or is that something that you had to work towards, or I guess, if you've made images that are just far too busy in the past.

Steve Rolfe:

Yeah, I think it is down to Trial and error to be honest, there are an awful lot that I've created and are you happy with them? Yes. No So it's trying to keep it simple Sometimes you don't want to overcomplicate because you as the creator know exactly what you're doing But a reader a viewer might not understand it, right? So it can get lost in translation So I think keep it smart keep it simple. and then that makes the reader understand exactly what's going on. and also if you don't have too many characters within that image, yeah, it does make it for a better focal point.

Raymond Hatfield:

Are you the judge of whether or not a photo is too busy cause like you said, sometimes the viewer, doesn't, See all that we see as a photographer, or do you show your photos to others and then get their input?

Steve Rolfe:

I will show my wife what i'm creating. I think personally for me it's down to my judgment really whether I think it's going to be too messy too noisy too crowded. And I do put them up, and everyone, art is subjective. Of course. Photography is. So, some like, some don't. I think as a photographer, as long as you're happy with what you're creating, that's half the battle, to be honest. As long as you like enjoying and create what you want to do, and you're happy with those images, that's the best way to do it. but yeah, I try to keep it simple, because I'm, also aware of people Try and make it so that the viewer isn't lost. and also because, as I said, this has been two years in the making, so the later bits and pieces are created. I'm also conscious of, what we don't understand in America and UK can be slightly different, like Mars Bar. England, that's a troglodyte. We all know what Mars is, whereas America, they don't. Pavement, sidewalk, you know, so it's, trying to create, because I know it's going to be a multi it's going to cover different locations, within the world. So it's trying to make sure that everyone can appreciate what is being created.

Raymond Hatfield:

Okay. I actually think that I skipped over, more of your professional, side of photography. you said that, you got into photography as a hobby and then in 2014, you decided to go full time. what is it that you shoot, I guess, quote unquote, professionally today most?

Steve Rolfe:

For me, I suppose my day job, for want of a better word, Um, it's commercial, it's, creative, That's commercial headshots. but I also do, boudoir and empowerment.

Raymond Hatfield:

the question that I find interesting here is, if that's kind of the bread and butter, right, that's your profession. that's where you spend the majority of your time. and I guess this is just a devil's advocate question here, for beginners. Why decide to use small world as a tool? Your first book, which is more of a, creative side project. is that the right term?

Steve Rolfe:

Yeah, I love street photography, I love books and I picked up a book and went through it and it was from an English photographer and at the back it said if you've got an idea, pitch it to us and this was Trope, publishing out of Chicago and it was like, okay, so this was December, a couple of years previous, so I thought, why not? For me, it's the little people are quirky, It's different. Yes, it's creative. It's different. and when you look at photography books, I think else, there's not that much going around, which would rival the little people. So I thought, why not? I got lots of back catalog. and they are the ones that got me started, so they're only one and a half inches high, but you know, they might be small, but they made a big impact within my, photography career. So I thought, why not? So I contacted the publisher and two weeks later, we were having zoom conversations and it just went from there. So, yeah, I think it's because they're quirky, they're fun. and it's also helps to other people can correlate what's going on. As I said, there are some fun ones, there's some more thoughtful, more meaningful ones, within that scenario that are created so that, it can appreciate or others can appreciate what I've created.

Raymond Hatfield:

Yeah. And I think we could all use a little bit more fun in our lives as well. and I appreciate the book probably more than I would maybe, a book about headshots or, you know, interior, of photography. So, when it comes to the publishing process, right? So you reached out, you said, Hey, what do you think about this idea for a book? You said that you already had a back catalog. When you reach out to them, would you consider? Yeah. What you had finished, or did you have ideas for more images to capture before, it was complete?

Steve Rolfe:

No, it's never finished.

Raymond Hatfield:

Oh, no, no, I'm sorry. I guess I mean the photos in the book, not the project overall.

Steve Rolfe:

No, no, no. no, because, basically what I sent over so many images, I went through ones I thought would be good, would be of a liking. so yeah, they liked what they saw. What more have you got? So I send more over. And then I start to look and think, yeah, okay, I can do with some more. it's an ongoing process. so then I start creating more new ones to go across. we got to a point where, yeah, they were happy with the images that I was sending over. We'd agreed what images were being put into the book. but as I said, it's an ongoing process. there are more being created, as we speak.

Raymond Hatfield:

yeah, understand. Fully understand. So when it came time, they were like, we like these photos and you had decided, okay, but I need some more. I'm going to capture some more. This is, I think, looking at a body of work as a whole is something that a lot of new photographers have a difficult time doing probably just because their body of work is so small. So they don't know what is missing. But how did you know, where there were holes in what you had captured and, what you needed to, to continue to capture to be able to put into the book? Did that question make sense? I feel like that was very worded.

Steve Rolfe:

Yeah, no, I didn't know where any holes were. As I said, so many images I sent over. so we went through that process. and then we had, have you got any more? So it was, yeah, okay, I'll send these over. And then I look at what I've done recently or previously. And it's okay, do I think that is, Worthy of going in the book, do I really think that that is captures what I think the essence of the book is So then I start to think okay, do some fresh. Let's do some new ones Send over and see where that goes So the vast majority of the new ones they liked, so they've been pushed into the book as well. Well, sorry, not pushed, but they've been put into the book. because this is my first book, so I'm very much led by the publisher. So then they, come and say, look, yeah, we've got enough images now, we're fine, that's it, not a problem. so then you can sort of relax slightly on that. side of things. and then it's just the writing that has to be pushed, you know, all gets put together. So they say what they want within the writing. I wrote up bits and pieces, about me, about the process, something else. And then it goes back to them and then they, do their magic. And then can put it all together, so.

Raymond Hatfield:

Gotcha.

Steve Rolfe:

So, yeah.

Raymond Hatfield:

So, this is a project that will never be done, right? as you said, you're still capturing these photos. Even though this book is in print. I have it here in my hand. how did you feel when they were like, I think that we have enough images. Did you feel like, I really wish that I could capture some more? Or did you think, okay, This is fine. should probably rephrase that question. No, no, that's fine. That's

Steve Rolfe:

fine. Yeah. No, there wasn't. It wasn't. Oh, I want to Oh, no, no one's still going to shoot more. I think as photographers, we put pressure on ourselves, human beings who put pressure on ourselves. And it was, you get to a point where you've got deadlines to work to, so it's a question of, you end up with pressure on yourself thinking, I have to, you know, let's, get some more creation going. Let's get some more. And as I said, and you have a problem where you have writer's block or photographer's block, if you want to call it, and the creative process just doesn't start, just don't want to work. And it's okay. thankfully. you take yourself out of your comfort zone, you go out and you see what's around and the creative process eventually kicks in. So then you can create, then you can fulfill the brief. So there is no, there's no, I suppose there's no disappointment that, oh, I want to keep on photography or happiness that, yeah, thankfully that's done. I said, you put pressure on yourself to make sure that you've Got what you need and that you're happy with what you've sent over and that they're happy with what's come over. so as you always were in the back of your mind, it's like, I've got a deadline on this. This has to be done by this day. I think it was a, it's an element of relief that yes, no, we've reached that deadline and ethics sorted.

Raymond Hatfield:

So it kind of sounds to me like, you knew going in that this project. Would never be done. So to kind of give up some of that control in the beginning, just to get it out, because getting it out is better than waiting until it's finished and possibly never be released. Is that right?

Steve Rolfe:

I wouldn't say that it's because, as I said, there's still lots more that I can achieve with the little people, the way, the different scenarios and locations that could be done, at the moment is this, it's almost like a snapshot time of where we are at the moment. it's a celebration of the little people and what I've achieved. it's something I never thought would happen. to get a book of my own images. it's just incredible to be honest. but I still look to see what I can create. Because for me, it's, you just carry on, it's like when someone says, I've learnt everything I need to learn. Well, you should be learning every day. And with photography, you can learn every day. Because the light changes, this changes. a very organic, it's a very creative process. yeah, as far as, the little people are still gonna be done, so where we go in the future, I've got no idea. But, at the moment, in the present, We've got a book that's being published and it's just incredible.

Raymond Hatfield:

Yeah, no, of course, of course. it's a huge accomplishment. personally, I think when it comes to ideas for like photo projects, I can easily come up with a million ideas, and it's hard to narrow down my focus into doing one. You just got started on doing one, right? But you said that you've been working on this literally for years. Was there ever a time where you thought to yourself, you know what, maybe I'm going to spend more time exploring a different photo project? Or did you think, I got to stay the course on this to take it to a certain point?

Steve Rolfe:

no, I never thought, that, change intact because the whole, little people, the creative process, it's being out in the street, it's finding new things, and for me, it's part of who I am. they started me on this journey and, there's more to be done with the little people and as I said, creativity wise, it changes. Some days you can have a good day, some days you have bad, but I would never think of, no, I'm done now, I need to go to do something else because I still think there is an awful lot left to be done with these. You know, things change and yeah, I can't see it ever changing. it's not that I do the little people or 24 7. My day job is, different. so these are, I suppose, my release. Yes, yes. That's, if I say, you know, but it's all a creative So it's something to be,

Raymond Hatfield:

Of course, of course. I love to hear that. sometimes it just takes, the tenacity to keep going and I know personally that can be difficult for me to do. I'll try something and I'll be like, wow, that's really cool. And then, just because of, circumstances, maybe you can't just keep shooting and you can't stay in that mode. So you have to take a bit of a break. And, within that time you'll find something else and you're like, that would be cool to explore. And then you forgot about the other thing. But then here I am years later and I look back at those photos and I'm like, wow, these are good. Why did I not, continue with this? and it's good to hear that, Just sticking with it, is going to be fruitful. That's good. I'm trying to think of, any other questions, but I don't know. I just want to know, like, is there anything maybe that I didn't ask you today about, either the photography process or the bookmaking process, that you want to make sure that listeners know and understand.

Steve Rolfe:

the publishing is, I said, it's over two years in the making. The book should have been released last Easter, but because of COVID, and all sorts of other bits and pieces, everything was put on hold and it's not just my book, it was a lot of the books, and there was about a period of four to six weeks, last year where I didn't know whether it would be published or not. thankfully it did. but yeah, it is ups and downs. It's a lengthy period. It's a lengthy process. but when I, an email through with the, how the book was gonna look, so you have an outline of the book with images and that just blows your mind. It really does. And you're scrolling through the images online, and it's wow. And it's just like, you can't believe that you're seeing your images mocked up for a book. And then you can times that by a thousand. When I got a couple of advanced copies through in the post, and you actually have a book in your hands of your images, and it is just like, All the Christmases come true, it's just, you know, I never started this process with the little people, I never started this to get a book, so to get a book, just to reach out to a publisher, across the pond, as they say, you know, across the water, with an idea, and then two years later I got a book, it's just crazy, but it's absolutely brilliant, It is brilliant, and I would say to anybody that if you've got an idea, go for it, just keep pushing, just contact, it's just many, many years ago, I would always wanted to write books, I contacted, I wrote a book, and I contacted publishers, and nothing, and you know, you push that for two years or so, and nothing, so writing wasn't my thing, but photography, so just to contact people or publishers and if you've got images that you think are worthy, just do it. It doesn't cost anything to send an email or to reach out to somebody and to say, look, I've got these images. Are they any good? Would you like to publish them? and it might happen, you never know where it might lead. But for you, it led to a book. Yeah.

Raymond Hatfield:

Very exciting. Well, Steve, this has been a wonderful conversation. I've thoroughly enjoyed chatting with you today, and I'm sure that listeners are thinking to themselves, Wow, I really want to see maybe more of Steve's images, and see what it is that we're talking about. So can you share with us where we can find you, online?

Steve Rolfe:

Yep, so if you go on to, Instagram, it's Steve Rolfe Photography. That's where an awful lot of my street art is, street photography is. also on Instagram is Little People Media. So, yeah, that's where they all hang out.

Raymond Hatfield:

Again, if you haven't already check out Steve's Instagram to see some of his photos so that you can get an idea of what it was that we were talking about. It's just really fun photos, but let's go ahead and recap what we learned today. First embrace simple storytelling. When you can focus on a clear and simple narrative in your images, it's going to make them stronger because they're going to be easier to understand and just more engaging to the audience. So For you, I want you to try creating images that are, organic. They're not overly complicated. it's a very simple story. Next solicit and utilize feedback, having that other perspective, especially from somebody that you trust is just invaluable in refining your work. So regularly seek constructive feedback, use the beginner photography podcast community as your shouting board, then use that feedback to adjust and improve your storytelling techniques. Shouting board. Am I sure that's right? Does that just sound weird? Anyway, you understand what I'm saying? and lastly, try pursuing publication. when you can turn a creative side project into a public book, that's amazing, but it takes dedication and it takes resilience. So if you have an idea. Prepare a proposal, have some sample images ready. put them together and just reach out to potential publishers. See what they say. The worst I can say is no, but I want to hear your biggest takeaway in the beginner photography podcast community. Again, free to join. We'd love to have you. I'd love to have you join on, on this conversation. You can join right now over at beginner photo pod. Dot com forward slash group. That's it for today until next week. Remember the more that you shoot today, the better of a photographer you will be tomorrow. Talk soon.