Who or what has been your favourite subject to date? I generally don’t have favourites. I think that’s the by-product of my decision to steer clear of hugely commercial jobs and stick with more arts and culture-orientated work. I don’t earn as much admittedly, but I usually like everyone I work with, which makes more sense to me. If I were to choose though, I’d probably have to say photographing with Neu! Reekie! I had eight glorious years snapping the shows and every single one brought something different and wonderful.

Who or what would you love to photograph but have yet to pin down yet? Oh god, I don’t know! I always get nervous before any shoot, and I only know how much I wanted to do it until afterwards when I relax. I guess I’ve never really been on tour before, so I suppose I’d like to have done at least one before I retire from gig photography.

‘A picture is worth a thousand words’: discuss . . . It absolutely is, if you choose to see and read an image that way. Depending on who’s looking at it and what context you see it in though, a single image can tell a multitude of different 1000 words.

What tactic(s) do you use to put a subject at their ease? I often photograph people that are not very comfortable being photographed and I think because I’m a lot like that too, it often helps to calm both our nerves. Sharing a mutual vulnerability like that, no matter how small, helps to put you both at ease and brings a bit of balance and equality to the situation. I believe a portrait is a collaboration, so being empathetic to who is in front of the camera is so important to get the best results.

Who was the biggest influence in making you pick up a camera and become the photographer you are today? It’s kind of genetic, I think. My grandfather was a keen photographer and developed all his own negs and photos, although I didn’t really know that until I was on my own journey with photography. It was lovely though as it gave us some common ground as I got older, and he often shared newspaper cuttings of photographers he thought I would like. In terms of other photographers, when I started I wanted to be Pennie Smith, so I credit her with giving me a North Star to follow in the beginning. And after that I would say Nan Goldin for unapologetically photographing the truth as she sees it, no matter how flawed, and proving that making work about what’s right in front of you can be more than enough. Plus, there’s all the work she’s doing regarding holding the Sackler family accountable for the devastation they’ve caused. I have so much respect for her.

‘The camera never lies’: discuss . . . This is a slippery statement. A camera can be a great tool for showing the truth of things but, equally, it can completely misrepresent. It really depends on who’s holding the camera and how they choose to use the images.

Is AI a threat to your business? I am not the best person to ask as the idea of any advanced tech makes me feel a bit queasy.

What’s your favourite bit of photographic kit? My eyes. Bit trite I know but it’s so important to remember that how you see the world is not the same as how everyone else sees it and, if you trust that, then your work is more likely to be authentic and something you can stand by. And, in an age where there are billions of images and photography is becoming the universal vernacular, I think that’s the best you can hope to do.

What would be your main advice to an aspiring photographer? Find your tribe. I’d be lost without my solid cohort of good souls who I share this journey with. There are a lot of people out there who will try and tell you how it is, how it should be and why you’re doing it wrong; it can bring you down and make you second guess yourself. So, to counteract that, find the folks you trust who provide you a safe space to explore your own work and your unique journey with it. Bolster each other up and stick with them for the long haul and celebrate each other as you all rise to the top, together.

My Favourite Photo

Taken in November 2017, this shot was made ahead of the first ever Cold Turkey night, a lovely event birthed into being by Hollie McNish, Scott Hutchison, Michael Pedersen and Withered Hand, as a way to share the stage together and celebrate their friendship. Maybe not my best, but this photo will always be a reminder of a moment in time when all the threads pulled together and everything made sense for a little bit. These folks here (including my lovely friend Tom Johnson, not pictured but present in the form of Scott’s GoldFlakePaint jumper) are some of the best I know in this world, and this photo is us together, just trying to make it all work.

Read more of our photography special by checking out our interviews with Mihaela Bodlovic, Tommy Ga-Ken Wan, Jess Shurte and Andrew Jackson; visit Kat Gollock's website.