Martin, what gave you the idea to start The Gamblers?
Back in 2005, when I was just starting out as a photographer, I made a list of possible events and themes to photograph. Taking photos at the races was top of the list, as it was a subject I knew plenty about from my childhood, when my father would take me to the races. I made a trip to the Bath races and soon knew that this was a project that I would enjoy and should continue working on.
Can you describe what the atmosphere is usually like at these events?
A day at the races appeals across the social divides. As you walk around you can observe upper class social gatherings, boisterous stag parties, die-hard local punters following the market moves or just people enjoying a fun day out.  It’s a day out that is most definitely fuelled by alcohol, with long queues forming at every bar between each race, as punters bid to get a refill before making their next (hopefully winning) selection. Even at a small venue on a dull winter weekday, there will be quite a roar from the crowd should a well-backed favourite win a race.
ArrayHow did people in the crowd react to you being there with a camera?
Whilst circling around photographing people, I’d often bet on the races myself, so this certainly helped keep my photography fairly discreet. Most punters were largely unaware that they were being photographed, as they are naturally caught up with placing a bet and watching the races. A few people have approached me and asked specifically not to be included, which I always respected.
Was there a reason you chose to incorporate both colour and black and white photography into the final edit?
When I started working on The Gamblers, I photographed predominantly in colour. The project was spread over a twelve year period, with a considerable hiatus in the middle. When I returned to finish the project after this lengthy pause, I was aware that there needed to be more images of the crowd as a whole. Shooting these scenes in black and white, and taking colour distractions out of the equation seemed to help focus the eye on the sea of faces and emotions. When editing all the material, I had to try a number of different tactics before finding the best way to balance out the mix of colour and black and white. With as little as a horse’s nose being the difference between winning and losing, it was soon evident that I could use the switching of formats to mimic the ups and downs of a race.
ArrayTell us about a typical day shooting at the racecourse. What moments are you looking to capture?
I like to arrive a good hour before the first race of the day so I can assess the best areas to photograph, especially if it is a venue I have not visited before. Often the most interesting characters can be found around the bookmakers, so much of my time is usually spent weaving among the faithful tribe of gamblers who gather there.
I would always be on the lookout for gentle moments of humour: a gambler holding their betting ticket in their mouth as they put their wallet away; a balding gentleman whose hair stands on end while watching the race; or an elderly lady standing on a bench to get a better view are all good examples that feature in the book. I tried to balance these moments with wider views of sections of the grandstand during the races with its array of human emotions, whether it be hand-on-heart anticipation, arms raised in jubilation or the despair of another losing bet.
