How would you describe what you do?
I’m a photographer, storyteller and creative director who specialises in portraiture and fashion. The themes I explore are usually centred around cultural subjects within the Black diaspora, community and beauty. I work with music artists, entertainment companies as well as with my peers. The work I do with my production house, Genesis Studios, specialises in creating different content across commercial, TV, film and the arts.

What are the main influences and inspirations behind your work?
The main influences and inspiration of my work stem from emotion, energy, Black history, beauty and my Jamaican-British experience.

What’s been your favourite project to work on from the past year, and why?
A test shoot I did back in February with a model called Ebenezer. I’d say this one’s been my favourite so far as it was improvised and was shot not long after I’d come out of a creative funk, so I was left feeling inspired after the editing process.

Can you tell us more about Bumpkin Files? And how you think the industry can better showcase the work of Black British creatives outside of London?
Bumpkin Files is an archive, historical resource and visual project that explores the Black British experience beyond London and the generally misrepresented Black diasporic communities. Being a Black woman from a small town, I noticed how our stories aren’t within cultural conversations, and how this can also have an effect on how we have to navigate the creative industry.

It’s inevitable for there to be a focus to be on the capital city, especially as most of the creative opportunities reside there. However, producers, casting directors and marketing companies within the industry could definitely dig deeper when trying to widen their roster of talent: there’s so many talented creative people who reside in other cities, smaller towns and villages.

Would you say you need any specific training for what you do?
From experience, I don’t believe you need specific training to do photography, but I do believe that you must see yourself as a student of the craft at every stage.

I’m self-taught, so a lot of my skill set stems from observation, trial and error, YouTube videos and, most importantly, practice. Patience, intention and understanding how light works are definitely the traits and skills to have as a photographer.

What was your journey like when you were first starting out?
My journey in the beginning was fun! Although I didn’t label myself a photographer at first, I was blessed enough to have friends who were happy for me to photograph them. I also started out at Guap Magazine during their beginnings, so myself and the founders, Jide and Ibrahim, spent a lot of our time shooting content and, most importantly, networking. But as time went on, I found it challenging to keep in the loop of things that were happening in London as travelling got expensive.

If you could pick three things that you’ve found useful or inspiring to your work or career, what would they be, and why?
Travelling, photographer Gordon Parks’ autobiography A Choice of Weapons and community.

These three things definitely go hand in hand – community provides a lot of context for the work I create. The work of Gordon Parks, as well as other photographers I look up to, helped me understand the importance of documentation.

What would you say has been your biggest challenge along the way?
Access and staying connected. Being from a small town where the council doesn't do their best to nurture talent in the community, and having to travel elsewhere to go to the studio – or even connect with the photographer community – gets exhausting at times.

How important would you say social media and self-promotion are to your work? Do you have any advice or learnings to share?
Self-promotion is super important. As independent artists with no representation or managers, we also have to be our own marketers.

Social media can be toxic when not used appropriately, but I also like to remember that we can utilise it in a way that works for us. I’ve recently learned that LinkedIn is a great platform to share work, as that’s where the CEOs, casting directors and producers are.

What have been your greatest learnings with making money and supporting yourself as a creative?
This is something I’m still trying to navigate, but stepping into event photography has definitely helped me stay afloat. I’m also looking to sell prints of my work.

How did you go about landing your first clients?
I just kept creating my own projects and doing my own thing, to be honest. I think I started attracting clients by focusing on my own photographic style, and the rest is history.

What’s the best career-related advice you’ve ever received?
Never neglect passion projects when client work increases. I’ve learned that my own projects opens doors and opportunities, so continue to do so during your career growth.

What advice would you give someone looking to get into a similar role?
Embrace your own perspective and authenticity. The best way to stand out in this industry is to be yourself and build a foundation, whether that is a network of people you work with regularly, or a body of work that resonates with you.