The work of Michael Oliver Love is simply beautiful. There genuinely isn’t any other way to describe it. The way he photographs and frames the human form can be likened to the work of the famous sculptors of the Renaissance. It draws you in, inviting you to take in every line, every curve, every fold, leaving you utterly mesmerised. We sat down with the photographer to chat about his incredible work, his journey in photography and more.
Please tell us a little about yourself.
I’m Michael Oliver Love. I’m a photographer, and I also paint sometimes.
Do you remember the first time you picked up a camera?
Not exactly. But I do remember taking the family point-and-shoot camera, putting it on self-timer and placing it on a stack of random objects to take pictures of myself covered in paint or makeup, just for a new BBM profile picture. The camera fell off the pile of objects one day and broke, prompting the journey to find a new camera.
What is it about photography that interests you?
I think it started when I was a teenager and became obsessed with magazines and flipping through editorials and campaigns; it definitely sparked joy. So I started shooting my friends in my backyard with those grand images in my head, thinking I could also do that.
What types of genres do you enjoy photographing?
I would say portraiture, which means many things, I suppose. And lately, I’ve been loving shooting products and still lives.
How would you describe your style?
Trying my best?
How did you find your particular photographic style?
I have had many different styles over the years from when I started shooting. Believe it or not, I used to only shoot black and white images right in the beginning; in my Tumblr era, I thought that was my “thing.” And when I only knew aperture priority, I would shoot at 2.8, and my “thing” was super soft, blurry images. And as I gained more technical knowledge and did more and more shoots, my style developed organically. I’ve always just done what I enjoyed at the time in search of my “thing.”
A lot of your work focuses on the human form. What about it intrigues you?
I do love a nude moment. I just think it’s so honest and uncomplicated. It always takes an image to a timeless art space, if I could say that. I think it’s also very arresting. People react to it, whether it’s wonder, horror, fascination, or confusion. I love that.
What are some of your favourite projects to date?
My photo project with Burberry in 2020 was a magical day. And everything I’ve shot for Kinfolk.
What are some of the greatest difficulties you’ve experienced in your career?
Comparing myself to others and getting sucked into depressions where I don’t think I’m good enough. Imposter syndrome has crippled me at times. I definitely have a bad habit of overthinking. So I suppose I’m the difficulty.
What camera do you shoot on?
I have the Canon R5.
What are some of your favourite lenses to use?
I alternate between the 24-70mm and the 70-200mm. I’ve recently fallen in love with the 70-200mm; it really cleans up your surroundings at 200mm if you’re in a pickle.
Do you have any upcoming projects you can talk about?
I shot a new cover for Kinfolk that will be coming out in spring, and I am quite proud of it. Otherwise, I am working on my next exhibition of paint and clay with some print elements, hoping to show in March if I can get my act together.
