Source: Interview Magazine
Stunt Man
A specialist in street style and hip-hop culture, English-born photographer Ben Watts has been documenting both–and other expressions of rambunctious youth–in and beyond New York since 1990. His latest book, Lickshot, hits stores October 6. We talked to him about photographing Heath Ledger and having his subjects take risks (one more bungee jump, Jason Statham!) for the perfect shot.
Q: What does the title mean?
A: A lickshot is a salute, basically. My first book was called Big Up, which is Jamaican slang for a shout-out. "Lickshot" refers to a gunshot that might be fired at an outdoor disco when the DJ puts on a great record. I'm not into gunplay at all, but it's kind of like a thumbs-up or show of respect to whoever's in the book.
A: A lickshot is a salute, basically. My first book was called Big Up, which is Jamaican slang for a shout-out. "Lickshot" refers to a gunshot that might be fired at an outdoor disco when the DJ puts on a great record. I'm not into gunplay at all, but it's kind of like a thumbs-up or show of respect to whoever's in the book.
Q: There are more celebrities here than there were in Big Up.
A: I didn't want to make the same book twice. I wanted to maintain the same energy and visual impact, but maybe spread my demographic a little.
A: I didn't want to make the same book twice. I wanted to maintain the same energy and visual impact, but maybe spread my demographic a little.
Q: Your photos are digital, but both books have a very analog, scrapbook look.
A: That's something I picked up in college, putting together my journals. But I don't ever want to be considered too "Ye Olde" or nostalgic. I'm a strong believer that it's about the image, not how it was taken. For awhile, there were tons of pictures where they were leaving the sort of broken-down border of the Polaroid. And all that was half the image, you know?
A: That's something I picked up in college, putting together my journals. But I don't ever want to be considered too "Ye Olde" or nostalgic. I'm a strong believer that it's about the image, not how it was taken. For awhile, there were tons of pictures where they were leaving the sort of broken-down border of the Polaroid. And all that was half the image, you know?
Q: The subjects in your photos never look strained or uncomfortable. You have people doing what they like.
A: That's something I like to pride myself on. There's no guessing games or uncomfortable pauses. I don't want the day to be a struggle. That's going to kill it, you know?
A: That's something I like to pride myself on. There's no guessing games or uncomfortable pauses. I don't want the day to be a struggle. That's going to kill it, you know?
Q: That great shot of Jay-Z–he looks so young and perky. It's completely at odds with the image most people have of him.
A: He markets himself a certain way, which is fine–he does really well, and I love the imagery of Jay-Z. But I like that I was able to capture something different. That was for Life magazine and it was an assignment in Paris. I was with him for three or four days; I think that was the first night. We went to dinner then we went to a club and I just snapped it over his friend's shoulder.
A: He markets himself a certain way, which is fine–he does really well, and I love the imagery of Jay-Z. But I like that I was able to capture something different. That was for Life magazine and it was an assignment in Paris. I was with him for three or four days; I think that was the first night. We went to dinner then we went to a club and I just snapped it over his friend's shoulder.
Q: You think he liked it?
A: Apparently he had it on the wall at Def Jam [Records], blown up.
A: Apparently he had it on the wall at Def Jam [Records], blown up.
Q: In most of your other shots, though, the subject is confronting the camera in some way: tough-guy poses, raised fists...
A: Some people are like, "Every picture's the same!" Maybe it is, but that's what I like. When it comes down to taking pictures, I know exactly what I want. The picture's already been taken in my head.
A: Some people are like, "Every picture's the same!" Maybe it is, but that's what I like. When it comes down to taking pictures, I know exactly what I want. The picture's already been taken in my head.
Q: Do you find that pointing a camera at people activates them in some way?
A: It can intimidate and excite, so both. But a lot of people I shoot are performers, so they've done it 101 times. I wouldn't say my pictures are provocative; I just like to think that they have energy and liveliness about them that shows a little more about what's going on in the person.
A: It can intimidate and excite, so both. But a lot of people I shoot are performers, so they've done it 101 times. I wouldn't say my pictures are provocative; I just like to think that they have energy and liveliness about them that shows a little more about what's going on in the person.
Q: Your work has a youthful energy. Something sort of–
A: Childish!
A: Childish!
Q: Well, it's almost as if you find the teen rebel in everyone. You think you'll be doing that, say, 20 years from now?
A: Right now I'm enjoying it. But perhaps I need to bring someone in to give the next book a revamp.
A: Right now I'm enjoying it. But perhaps I need to bring someone in to give the next book a revamp.
Q: I think a lot of people will be interested in the Heath Ledger shots.
A: I've got quite a lot of stuff of Heath. I knew him through friends in Australia and I thought the imagery was strong and there was a story to be told there. But I didn't want it to be just about Heath. He wouldn't have dug that either, you know?
A: I've got quite a lot of stuff of Heath. I knew him through friends in Australia and I thought the imagery was strong and there was a story to be told there. But I didn't want it to be just about Heath. He wouldn't have dug that either, you know?
Q: Tell me about shooting him.
A: I wanted to create moments of genuine enjoyment and I knew he loved skateboarding. So it was just like, "Hey, let's have a great day and guess what, we'll get some good pictures, too."
A: I wanted to create moments of genuine enjoyment and I knew he loved skateboarding. So it was just like, "Hey, let's have a great day and guess what, we'll get some good pictures, too."
Q: You like to shoot guys showing off, doing stunts. Does it ever get dangerous?
A: I seldom ask someone to do something that I wouldn't do myself. Except for bungee jumping. No f***** way. I got Jason Statham to bungee jump five times in a row. We were like 350 feet above the Thames in this crane to take a Polaroid for this magazine, Joyce. And the guy that was operating the bungee says, "Mate, no one does it five times in a row!"
A: I seldom ask someone to do something that I wouldn't do myself. Except for bungee jumping. No f***** way. I got Jason Statham to bungee jump five times in a row. We were like 350 feet above the Thames in this crane to take a Polaroid for this magazine, Joyce. And the guy that was operating the bungee says, "Mate, no one does it five times in a row!"
Q: Ever had a major injury on a shoot?
A: The first time I worked for Nike, I had a guy knock himself unconscious. This mad skier from Oregon was lying face down in the snow, with blood coming out of his head. I'm like, "My god, someone's died!" When he regained consciousness, he had a huge gash on his head. I think we shot him later on that day with glasses and a beanie on.
A: The first time I worked for Nike, I had a guy knock himself unconscious. This mad skier from Oregon was lying face down in the snow, with blood coming out of his head. I'm like, "My god, someone's died!" When he regained consciousness, he had a huge gash on his head. I think we shot him later on that day with glasses and a beanie on.
Q: What about with women?
A: I had this model, Kylie Bax, break her wrist on one of my shoots. I asked her to do a karate kick and she slipped on the paper. She was so tough. She did not cry once, even when they pushed it back.
A: I had this model, Kylie Bax, break her wrist on one of my shoots. I asked her to do a karate kick and she slipped on the paper. She was so tough. She did not cry once, even when they pushed it back.
