We first had the pleasure of working with Tim a few years back whilst collaborating on a trip with the Australian brand Ballet. Despite us both being on opposite continents since then, we knew our paths would cross again sooner or later. When we heard he’d been working on a personal project with our old friend Ed Triglone, and was currently touring through Europe on our time zone, we thought it was time to rekindle things. Get to know Tim, and how he works a little better by watching his ‘In Conversation with’ before reading our interview below.
For our readers who may not be familiar with you and your work, can you introduce yourself and give us a little background?
Howdy! I’m Tim Swallow, also known as Timothee Hirondelle, and I’m a Director and Photographer based in Sydney. However, I’m originally from South Western Australia.
When did you first pick up a camera, and at what point did it become a full-time gig for you?
I picked up a camera as a teenager and started shooting everything I was into: surfing, skating, fashion, and artists. Margaret River is a beautiful area but limited in many ways, as it’s three hours south of the most remote city in the world. I really wanted to get out and spread my wings (pun intended), so I moved to Europe by myself when I was 20 and started working with Al Merrick and Volcom in Hossegor, France.
Without knowing it at the time, that was the moment I refined my aesthetic and focused on capturing youth culture. I’ve been traveling the world and shooting full-time for 16 years now.
What people inspire you to create your work?
Anyone with style—people who approach life and living as an art form. There is so much to learn from others, regardless of age, race, or gender. I try to stay open-minded and take it all in: observe, learn, and then do it my way.
You also direct. Did that come naturally from doing multiple photography jobs or through different avenues?
I began directing when I started working with Ed Triglone around 11 years ago. All my clients were asking for stills and motion, so Ed and I started a company to fill the void—Work as One. As the budgets grew, so did the production. We both got signed to an artist agency, and they really pushed us into the commercial fashion and advertising world.
Our first encounter was when we received a folder of incredible imagery from Ballet’s first team trip north of Sydney. What’s your relationship with those guys?
Yeah, that trip was amazing! I’m actually keen for another one! I started hanging out and surfing with Jamie and Seb just before Ballet started, so once it kicked off, I put my hand up to help out. They are legends and give so much back to the surf community, so I’m always down to collaborate with them. I genuinely love the brand too.
Do you still make time to shoot with friends, even if the financial rewards might not match those of bigger commercial jobs?
Yeah, for sure! I try to maintain a moral compass and keep it core. I still shoot big advertising campaigns but try to be selective. I haven’t shot fast fashion for a while; there’s no need for cheap clothes, as most of it ends up in landfills.
I recently shot with Noah Collins for NCD in LA. I met him through that Ballet trip, actually. That was really rewarding for me because we shot a one-day fashion story downtown, and then he had his debut fashion show the following day. Everyone pitched in to help him out, and it was a success—we were all thrilled. It was a great vibe!
You’re clearly busy in lots of different fields with your work. What would you say your balance is between surfing and more commercial work in fashion and beyond?
I would say my commercial fashion and advertising work funds my lifestyle, and I choose to document and share that journey rather than my ‘work.’ I find that more interesting, it also allows me to venture into more creative endeavours that pay less but ‘fill my cup’, like surf trips, touring with bands, and shooting editorial for magazines.
You’ve also documented musicians and bands. How did that first come about?
That started back in Hossegor. Volcom Entertainment put me in a van with a punk band called ‘The Plague,’ and they would play at all the surf and skate contests over the European summer. It was mayhem—heaps of fun, but it’s a young person’s game. I was basically just a kid.
I still tour with bands, but it’s all pretty grown-up now. I’m actually on a UK/European tour as we speak with Lime Cordiale—they are one of Australia’s biggest bands at the moment, and it’s pretty comfortable and reasonably healthy. We have a big tour bus, exercise everyday, drink green smoothies, and have a healthy rider. We do still indulge every now and again, but that’s strategic. Budget-wise, there is too much at stake to be reckless; it’s a marathon, not a sprint.
How did this video with Ed first come about?
Every few years, Ed and I come up with a passion project to chip away at outside of our commercial work. I wanted to define where I’m at as an artist, and he wanted to shoot on 16mm film, so we hatched a plan.
We see some URTH products peppered in there… are they someone you work with?
Yes, Urth is my camera hardware sponsor. They make high-quality lens filters, bags, and accessories. They also plant trees for every item purchased; the current count is 7,405,580 trees—I’m into that!
Tell us about a project you’re most proud of to date.
I usually have a personal solo exhibition every four or five years. I’m working on one at the moment; they are a juxtaposition to my commercial work. Everyone’s running around in nature, in the nude—no brands, no inhibition, just pure freedom. It’s always a laugh too; I’ve been busted by the cops a few times!
What upcoming projects do you have that you can talk about?
Other than the exhibition, I have just finished a large-format, 312-page coffee table book for Lime Cordiale with one of your design collaborators, George Hatton. We are all stoked with how it came out. The launch for that will coincide with their Australian/New Zealand tour in September/October, so I’m looking forward to that release.
The rest is just work in progress—letting it happen as it comes and staying present.
