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in conversation with Cameron
Cameron is a Bedford-based photographer & art director whose work captures the raw, the quiet, and the in-between. He has worked with us on most if not all of our campaigns. Photography, like design, is full of near-misses and happy accidents, so we were curious: in his world of image-making and intuition, what do mistakes look like? And how have those off moments come to define his visual language?
How would you describe your photographic style, and how has it evolved over time?
Cameron : I would say my style is documentary in nature, encompassing landscapes, portraits and details, but I’m very drawn to abstraction—a painterly or ethereal feeling. Over time, I’ve learned to embrace the influence of various styles and art forms that interest me.
When you're behind the lens, what are you most looking for in a moment or subject?
Cameron : I look for whatever draws me and calls out to me. I try to not think about it more than that while in the moment. If I'm shooting a person, it could be an emotive pose or expression. If it’s a scene, it could be a building, a tree, shapes & composition, the textures, light, or all of those characteristics. I’d hope my pictures can answer this question better than I can with words.
What does a "successful image” mean to you?
Cameron : It’s interesting, because the experience of taking the photo can influence this judgement—how it felt to take the picture or how hard I had to work for it. But I suppose it’s a mixture of many elements that speak to my eye: the interplay of colour, framing, the moment, someone’s expression, and the light, to name a few.
What is it like working on a campaign that embraces mistakes and imperfections as part of its core philosophy?
Cameron : It’s quite relieving, actually. Perhaps I’m a perfectionist, but there’s usually a lingering pressure to ensure everything is perfect. However, imperfections are as much a part of the process, if not more. I think that’s how we feel the humanity in others’ work.
It’s a philosophy that refocuses attention on the process—honest and relatable. Everyone makes mistakes on the journey of crafting something, growing up and becoming a better person, and we’ve chosen to wear that on our sleeve (pun intended).
You’ve been part of so many of our campaigns — how would you describe the creative relationship we’ve built over time?
Cameron : I’d definitely say it’s built on trust and a mutual understanding of what we’re both looking for. I think that’s the best way it can be: you believe in my vision, and I always have a strong springboard in how you illustrate what’s in your head.
What role do you think photography plays in storytelling, especially in fashion?
Cameron : You could argue that video has more power to tell a story and be persuasive nowadays, but I believe photography is still essential, especially in fashion. They share such a rich history. It’s not just about showing a product; the clothes are really a vehicle to convey a message.
What role do imperfections or unpredictability play in your photography?
Cameron : Imperfections are something I’m trying to invite in more. I think they can bring something extra to the work. Recently, I’ve been adapting a vintage lens to my camera. It vignettes—darkening the corners—and slightly distorts the image too. Lens reviewers would often tell you to avoid these qualities, but there’s an imperfect quality that really draws me. I think it’s fun to use tools that introduce unpredictability and chaos, perhaps creating something I would never have conceived myself.
Looking back at your journey so far, what’s one ‘mistake’ that shaped you creatively or personally?
Cameron : I sometimes think about leaving filmmaking behind to pursue photography instead. After three years at university studying Film, coming home and realising I wanted to go in another direction made me feel as if I had wasted my degree—and I felt guilty about that. Of course, I now realise that was part of my journey that has led me to where I am, and many things I learned at university—studio lighting, for instance—continue to transfer to what I do now.
Have there been moments in your work where something went 'wrong', but the outcome was stronger because of it?
Cameron : I can think of one example from this year. I’ve been experimenting with filters and a plastic pinhole lens, which I broke just before going out to shoot. The focus ring would essentially unscrew the whole lens after it snapped, so attaching it properly was tricky. I experimented with lens-whacking and captured an image I never would have otherwise—one that has inspired ideas for a new project. I think unexpected events can be stronger because they fall outside our personal expectations.
If you could describe the connection between photography and failure in one sentence, what would it be?
Cameron : Every photographer takes bad photos; it’s important to remind myself of that.