{"id":1101,"date":"2025-06-06T09:19:27","date_gmt":"2025-06-06T08:19:27","guid":{"rendered":"https:\/\/irismag.uk\/?p=1101"},"modified":"2025-06-06T11:07:22","modified_gmt":"2025-06-06T10:07:22","slug":"the-photographers-apprentice-how-an-internship-with-a-master-shaped-a-young-artists-vision","status":"publish","type":"post","link":"https:\/\/jusmedia.co.uk\/irismag\/2025\/06\/06\/the-photographers-apprentice-how-an-internship-with-a-master-shaped-a-young-artists-vision\/","title":{"rendered":"How an Internship with a Master Shaped a Young Artist\u2019s Vision"},"content":{"rendered":"\n

For many young, aspiring creatives, an internship can be a pivotal experience that can truly shape their artistic journey – certainly more than just a line on the resume. Iris delves into the integral role such opportunities can play in a creative development, exploring how hands-on experience with a talented artist can refine your craft, inspire different directions and ultimately spur on a new artistic vision. <\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

We caught up with Morgan Ambler<\/a>, a 22-year-old Warringtonian now based in Salford. Two years ago, in his second year of studying Fashion Image Making and Styling at uni, he stumbled upon the opportunity to work with renowned street photographer Tom Wood. <\/p>\n\n\n\n

But Morgan’s creative journey began way back with a school trip to Beeston Castle in Cheshire. He was six or seven years old, armed with a disposable camera given to him by his parents.<\/p>\n\n\n\n

\u201cMy mum was amazed that they weren\u2019t shit – some of them were genuinely good photos! And from that point, I\u2019d always nick my mum’s phone and be taking pictures. Both my parents are reasonably creative and always encouraged my creativity too. <\/p>\n\n\n\n

\u201cI started properly doing photography like I do now a few years ago though, taking photos of my mates in all these mad clothes and when we\u2019d go out on the town. I haven\u2019t really stopped since.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n
\n
\"\"
Morgan’s visual compulsion began with taking photos of his mates.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

The Photographers Apprentice:<\/h3>\n\n\n\n

Fast forwarding to Morgan’s first year of university, he reflects on first meeting Tom Wood, who was visiting as a guest lecturer. Impressed with Morgan’s images responding to a brief about what family meant to him, the two quickly hit it off. When it came to an internship, despite cutting it fine to the deadline, Morgan bagged the opportunity to shadow and work with Tom for what turned into ten weeks. <\/p>\n\n\n\n

\u201cHe lives in Wales now, and so I stayed at his house, literally staying on his couch during the week. I got to know the family and we all got on really well. Even after graduating I\u2019m still in touch and go away every now and then for a week at a time.\u201d<\/p>\n\n\n\n

During this period, Morgan was engaged with every aspect of Tom’s work, even the most mundane tasks: \u201cEach day was different, but one of the big things I did was scanning through his archive. He\u2019s got something like two million negatives. I spent a lot<\/em> of time on that, but it was cool looking through essentially all the photos he\u2019s ever shot. Going through that much film, I began subconsciously taking things in from his imagery, subconsciously learning from it all. <\/p>\n\n\n\n

\u201cI\u2019d also get to work on Tom’s exhibitions with him, finding the negatives, printing and framing photos. And other days, because his house has no central heating, I\u2019d be out chopping wood up for his fires! Every day offered something different.\u201d<\/p>\n\n\n\n

Invaluable learnings:<\/h3>\n\n\n\n

Morgan has a fascination with the line between fashion and documentary photography, pointing to artists like Alasdair McLellan, who creates images where this line is hard to define. Working with Tom encouraged him to approach his fashion image-making in a similar manner: \u201cI think that\u2019s where I found what I wanted to do.\u201d<\/p>\n\n\n\n

These ideas manifested themselves in Morgan’s photobook, \u2018Tied Loose<\/a>\u2019, a collection of 36 portraits of different lads he’s met through growing up and at uni. In part, it represents an amalgamation of the lessons learned while Morgan was crashing on Tom’s sofa back in 2023. <\/p>\n\n\n\n

<\/p>\n\n\n\n

\n
\n
\"\"
Callum, snapped by Morgan.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"
Ant, also featured in ‘Tied Loose’.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

\u201cI started putting the book together right after my internship with Tom. I didn\u2019t acknowledge what I was doing until after, because it was one of those things that came to life as it went along. But I like to base a lot of my work on growing up, my youth and nostalgia and stuff.<\/p>\n\n\n\n

\u201cThere\u2019s these question sheets in the book which tap into a storytelling element. That\u2019s something Tom always used to make a deal of, getting a story out of his photos.\u201d<\/p>\n\n\n\n

Since then, Morgan has tried to navigate the tricky world of freelancing, something that many find difficult. But he is still taking photos every day: \u201cI\u2019ve always got a camera on me. I hate the idea of something or someone popping up that I want to shoot, and not having the camera there. The feeling you get when you miss a good photo sticks with you more than the times that you capture one.<\/p>\n\n\n\n

\u201cFor me, it\u2019s still all about meeting new people, connecting with them on a human level. It\u2019s something I really want to keep capturing.\u201d<\/p>\n\n\n\n

\u201cEvery time Tom has photo opportunities, he tries to get me to come along too. We used to head out, me, him, and his dog, and take photos together, and that\u2019s still the case. He recently shot the last Merseyside derby at Goodison Park, but I couldn\u2019t make it! I was gutted\u2026\u201d<\/p>\n\n\n\n

\u201cBut I found it interesting just watching him take photos. A lot of the time, he wouldn’t even look through the lens, watching the subject and holding the camera freehand instead. Every photographer has their own approach to street photography, but there\u2019s usually a rule of not being seen for the image to be candid. <\/p>\n\n\n\n

\u201cSeeing a master of this at work is something I’m really grateful for.\u201d<\/p>\n\n\n\n

Morgan and Tom\u2019s relationship seems to transcend the typical \u2018professional-student\u2019 dynamic. It far more resembles a friendship, with Tom encouraging Morgan’s creative pursuits in much the same way his parents did when he was young. His experience highlights how real-world exposure, even to the most routine tasks, can have a huge influence on not only the projects you pursue but also the perspectives and philosophies you can gain towards your own practice. <\/p>\n\n\n\n

It underscores a crucial point for all aspiring artists, one that centres on the importance of nurturing new relationships, embracing every opportunity to learn, and always having your camera ready.<\/p>\n","protected":false},"excerpt":{"rendered":"

For many young, aspiring creatives, an internship can be a pivotal experience that can truly shape their artistic journey – certainly more than just a line on the resume. 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