Where does the majority of your work take place?
I spend a lot of time on my iPhone or in meetings, more than at a desk. When I work remotely, I’ll flick between several devices so that I don’t end up sitting in front of a screen all day. I also like to keep folders of printed work as an easy reference, which I find helps keep me organised.
I was a rather institutionalised office-dwelling organism until I started working with start-ups, which opened my eyes to a more progressive way of working. Environment and working conditions are really important when you spend so much of your time there, and these entrepreneurial companies seem to understand that.
How does your freelance work usually come about?
I currently enjoy the freedom that comes with being self employed; it keeps you on your toes in terms of finding work. You find work by getting out for meetings, talking with people and doing lots of research on creative collaborators.
How collaborative is your work?
Collaboration is inherent to the medium of photography and certainly everyone on a shoot needs to collaborate with each other to produce good work. I act as a mediator between all the various creative voices on set. Everyone on set plays an important role, and it’s a balancing act to make sure everyone’s contribution is taken on board. Central to a photography editor’s role is to help craft a story by sharing research and developing ideas with the photographer about the best way to approach the subject whilst being the guardian of the brand, the publication and the editor’s voice. It’s important to be confident of your own visual language so you can edit photography rigorously, support your ideas and substantiate you choices to editors. I know that I need to collaborate more when work starts to feel stale for me. I lift my head up and get out to look at fresh work, new creative companies and developments.