Brent Stirton

Originally a print journalist, Brent took his first step into the world of photography in 1994. "I was covering the political violence on the east coast of South Africa at the time and I couldn't find a photographer to work with, so I used my savings, bought a Canon A1 and read the manual. When the international media came to South Africa that year for the democratic elections, I was able to work with them and learnt a great deal in a short space of time." By 1995 Brent was a full-time photographer. "It became an obsession from the moment I realised that photography could be powerful, and it was possible to illuminate an issue by creating a meaningful photographic essay."

More than 20 years later, Brent's compelling imagery still teems with an ingrained journalistic narrative. "I try not to come at something with a preconceived agenda; I am always looking for a scenario where all the elements come together to make a scene that will resonate emotionally with people. Ideally you are fortunate enough to make images that will be good enough to transcend literary and cultural boundaries. I think if you get that right, then you're doing your job," he says. "I'm very lucky to have this career and I'm always trying to be mindful of that. I'm just trying to make meaningful images and if I can make an image that moves you, I'm very satisfied."

How do you prepare for a commission?

"The A to Z of the issue needs to be researched, both online and with specialised contacts. That usually results in a mini thesis that is the skeleton that I use for the job. I pack suitable clothing, as well as cameras, lighting and sometimes recording gear, and a minimum of two hard drives and backup lenses. Visas are important, as is a support person. Vehicle hire and some form of accommodation should also be pre-booked."

How do you decide who to photograph?

"Ideally you should have already set this up before you leave – this is why research is key. Your fixer/translator should be a big help with this. Approaching people should be based on honesty and openness as much as possible. You should have a basic coverage plan in mind before you get on the plane but be wary of preconceived ideas because you are likely to meet people along the way who change your perspective and who you photograph."

How do you know what not to shoot?

"If all of the photographers are clustered around a scene, you probably don't want to be there."

How do you work with light?

"If I cannot wait for good light I may add my own, which means working quickly to maintain the spontaneity. I use a light meter; if you learn how to use it, you'll know how to use hard light to make interesting images."

What advice would you give someone keen to go pro in this genre?

"Be prepared to work harder than the next person and be obsessive about the subject matter. When you've built a body of work, show your work to editors but don't think you can walk into the top publications and agencies. Start smaller. It's important to go to portfolio reviews and do more listening than talking. Portfolio reviews often aren't free but they are the most direct route to people who can make a difference in your career."

"Research is key, for any kind of photography. If you know your subject, location, issue etc. then you will make more informed, relevant images. You owe it to your subjects to understand them as well as possible. That's respectful, and they will respond to you better if they think you have made the effort to understand them. Be humble. Make sure your gear is reliable and that you have some kind of backup – it's not acceptable to travel to a remote location and have your gear fail on you. National Geographic has a quote I always remember: 'We publish pictures, not excuses.'"

Instagram: @brentstirton

Website: www.brentstirton.com