Episode Description
Simon King began his photographic career in the world of fashion, focusing particularly on backstage photography. While this commercial work provided valuable experience, it was through documentary photography that Simon discovered his true calling. This evolution signified a shift towards authentic storytelling, where meaningful engagement with subjects took precedence over commercial interests.
A distinctive feature of Simon's approach lies in his clear separation between street photography and documentary work. He regards street photography as providing contextual imagery and B-roll material, serving to support the broader narrative. In contrast, documentary photography delivers the hero shots and A-roll content, encapsulating the central storyline of each project. This distinction allows Simon to maintain clarity and focus, ensuring that each project is grounded in the stories he wishes to convey.
As a teacher, Simon’s emphasis moves away from gear and toward self-understanding. He encourages photographers to examine their relationship with the world before worrying about cameras. Why you photograph, how you approach people, and what you bring into a space matters more than technical mastery. For Simon, photography becomes both purpose and permission — an excuse to enter communities, listen, and participate with care.
The New Exit collective embodies this same spirit of collaboration. Rather than privileging individual authorship, the group prioritises shared purpose when the work demands it. It becomes a support structure where photographers grow together, challenge each other ethically and creatively, and commit to projects that carry social and cultural weight.
Simon and Tim delve into the ethical responsibilities of documentary photographers, especially when working in enclosed or sensitive settings. Simon recounts his experience photographing inside a temple, where building trust and participating in the community were crucial. They question the notion of photographers as detached observers, with Simon advocating against simply "bruising the scene" and leaving. Instead, he emphasises the role of photographers as engaged participants, stressing the importance of representation, respect, and cultivating long-term relationships, which become as significant as the images themselves.