The Wild Gourmets / Jill Mead

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We hesitate to suggest this, but just how this could be deemed as work is anyone’s guess.

For many of us to travel around the UK with Tomasina Miers and Guy Grieve eating what they’ve foraged and caught would be a dream. Camping, fishing, shrimping, shooting, poaching and chilling at the end of the day over looking the Atlantic.

But work it was, and for a lot of the time having to shoot around a TV crew made it more of a challenge. But distractions and obstacles aside, for the book that accompanied the series the job was to capture the idea of living off the land and documenting how to grab some of the low and not so low hanging fruit.

The ability to, when necessary, be out of the way yet β€˜there’ is a key part of the craft; as well as, of course, thinking ahead and recognising where the next shots are likely to present themselves. Even with an inevitably free-ranging story to follow, there are certain types of image that need to be produced – there is after all a product at the end of the process. Discipline, talent and experience came together to produce a series of images that certainly met and exceeded the brief. An excuse to get grubby, be outdoors and make friends with two of the loveliest people on earth was a bonus.


About Jill

Jill’s love of photography blossomed from early expeditions with her family, taking pictures of abandoned farms on the North York Moors. She now feels incomplete without a camera and is fascinated by pretty much everything

"Everyone has a story to tell. I am not sure how it happens but when I ask the un-askable questions people open up. Whether I am working with a shy child or the most volatile chef on earth. The more trust you build, the more authentic the outcome.

Working with Antman back-up comes with many advantages: chief amongst them simply being able to concentrate on my job. The ratio of successful shots is testament to this.”

(To read more about Jill Mead, see Who we are)

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