JONATHAN CHERRY: Can you give a few examples of other artists that inspire you and why?

LUKE HALLILEY: You can find inspiration in anything and there are so many photographic artists and print media that I admire but when I first started to take photographs my first tutor bought me Henri Cartier-Bresson’s “À Propos de Paris” for my birthday. I think when you first start to take photography seriously it is hard not to be inspired by Bresson, but as I grew older and my own practice began to take shape the photographs didn’t have the same impact. Then William Eggleston came into my life. He uses similar photographic formulas as Bresson but without the pretense and everything made more sense in colour. Joel Sternfeld’s “American Prospects” also inspired - he showed me that you don’t have to be so ubiquitous with your photo taking. While making “There’s a lot of Dads Called Steve” I looked at Larry Sultan’s “Pictures from Home” everyday and I couldn’t help but be inspired by the work of my peers at university. I also really really love Gore Vidal’s books and try to watch a film every week (the last inspiring film I watched was King of Kong).

JC: Where have you grown up and was it an enjoyable childhood?

LH: I grew up in the suburbs of Birmingham with my mum, dad and two brothers, it was your average childhood. I went to a large mixed comprehensive school, did my sixth form and then went to a large college. Though decidedly average, it was always enjoyable. We would spend our summers in Cyprus adventuring in a tiny village called Pissouri and getting chased by the locals.

JC: Can you outline the ideas behind the series ‘There’s a lot of Dad’s Called Steve’?

LH: My family recently decided to adopt a little boy called James and I found it increasingly interesting how my fathers parenting style developed over the twenty years since I was a child. He certainly had mellowed! From that I had the idea of investigating father/child relationships and then in turn became “There’s a lot of Dads Called Steve”, which is not only a study of parental influence but of the home in contemporary Britain.

JC: I really do enjoy the above image. Who are they?

LH: The guy is called Zaffa and they are his children. He owns an ironing business not far from my families house.

JC: Did you find it a difficult experience photographing strangers or people that you have only met once or twice?

LH: I didn’t find it too difficult, it’s always a bit unnerving going into a strangers home, but I think if you’re nice and polite, people are generally very responsive. I used to do a lot of street portraiture, where I would go and approach total strangers. Trying to convince a man with five shopping bags to pose for a portrait without appearing a bit weird is a lot harder!

JC: What has been the general response to ‘There’s a lot of Dad’s Called Steve’?

LH: On the whole it has been very encouraging, some people really enjoy the work. I think it appeals to many people because they see a bit of themselves in the project, but some people have called me an evil cunt. As long as it raises questions and people are talking about it. I don’t really mind what they think.

JC: What is next in the pipe line for you?

LH: Since I’ve been teaching I don’t think I’ve kept an original thought for myself! Though, I have been thinking about a project, which involves how people build and experience their own environments and a personal project about life in general. The ideas are in the embryonic stage and they need a little TLC and nurturing. Also, hopefully we can get this Shipshape Collective going!

JC: Any other thoughts?

LH: If you’re in Birmingham on the 8th December - I’m part of a group show that is showcasing some emerging photographers and illustrators at the Hare and Hounds in Kings Heath. It’s a pretty strange setting and hopefully it will be loads of fun. I also think there needs to be more forums like this for artists who have just left education to get some critical feedback, it’s pretty scary going from loads of feedback to very little or even none.