Reece James Morrison // Voice Behind The Image

1. Hey! Please can you introduce yourself?

Hi! I’m Reece, and I’m a fashion photographer based in Newcastle, UK.

2. How have you found breaking into the industry?

It’s been a tricky one for me personally. I was an engineer for almost 7 years before

I eventually made the leap to full-time photography. I guess disliking my career after leaving school really gave me the incentive to make this work and I’ve carried on that ethos ever since. I studied photography part-time and took on a lot of free work whilst working my first job and that opened up a lot of opportunities for commissions and collaborations with other artists.

In time, I was able to pursue photography full-time, but finding the balance between

taking on free work, and respecting your worth, was very difficult, and something

that a lot of creatives struggle with when starting out!

3. You shot Louis Tomlinson for Tmrw Magazine, would you mind talking us through the shoot? Did it have a positive impact on your professionally shooting such a widely known celebrity?

I did! The shoot was great for me professionally, and I gained a lot of commissions and interest off the back of it. I think the most valuable aspect of the shoot for me, was experiencing such a large scale operation. TMRW were brilliant, and let me have free rein over the overall art direction and creativity of the shoot.

I worked alongside stylist Helen Seamons from The Guardian, and shot several looks

including Stella McCartney, Joseph and Dior. Louis was a pleasure to shoot too, we

spent the full day together in London and just had a good old chinwag about a lot of

things really!

4. Your documentary work could be described as having quite a 'British Aesthetic', how would you

describe it?

Honestly, I don’t really aim to give my work a certain kind of aesthetic, but I feel a lot

of my inspirations do naturally come across. I’ve always been interested in being able to portray a sense of narrative and disquietude through my images, but it’s totally dependant on who and what I’m shooting. I like to shoot with likeminded

people who understand what we’re trying to achieve on set and that makes it so

much easier and enjoyable to do my job!

5. Does your approach differ when shooting fashion vs portraiture/documentary?

To some aspect, yes! I’m a little more playful and experimental with my fashion

work but more regimented with my documentary stuff. On a fashion shoot, the

subject is always moving, which encourages me to do the same, but documentary

has the opposite effect for me.

6. A lot of creatives find it hard to find a commercial balance to their work, how have you managed it?

I shoot full-time for END. Clothing at the minute, so I try to choose my freelance

work wisely to create a nice balance of enjoyable but necessary work. I do a lot of

unpaid “passion projects” too to keep motivated and to make sure I’m enjoying

photography for the right reasons and not just to make a living from it!

7. What attracted you to shoot on film?

I first started shooting film out of intrigue, and to challenge myself a little by

“shooting blind”. But as I started to take it more serious, I just really enjoyed the

process of it. I’m more tactile, patient and aware when shooting film. When you take

away the disposable aspect of shooting, you’re naturally more precious and picky

with your shots and for me, that created a more rewarding experience on set. The

results are just ridiculous too which helps! I wrote my dissertation on this so I could

chew your ears off for hours about it haha.

8. What would you change in the industry?

A lot of things! More diversity. More inclusion. Greater support for young and

emerging talent. Less fast fashion. More upcycling. And more accountability for

those who abuse their position of power.