Forest Lewis: As long as I get to keep telling stories through images, I'll be happy.

How did you first find your way into fashion photography, and what drew you toward the soft, painterly aesthetic seen in this editorial?

Getting into fashion photography felt like more of a certainty for me, I started taking photos over 15 years ago when I used to skate, as I got older i quite skating and photography just kind of lingered in the background as I focused on my tattoo career, years later my now fiancé encouraged me to pick up a camera again and naturally I felt like street photography was the way as it felt closer to what I knew, however I found myself more attracted to taking photos of people and became less enthused by architecture or bikes leaning against lampposts.

The process from there felt natural, taking what I knew, telling stories and seeing scapes and putting people in the frame to try create editorials. Here we are and I’ve never been more passionate about it, I feel I have found my path I want to walk!

This series unfolds in a sunlit garden with a dreamlike, almost timeless quality. Where did the concept begin, and what story did you want it to tell?

The concept actually began with the model (Isis), Isis had this rough vision of trying to juggle everything all at once, we knew a tea party vibe would be involved somehow but like most of my shoots, the ideas are loose and we let the story unfold as we see it and situations or locations arise, I love the surprise and suspense of working like that, the random chaos that can occur and help create the mood!

We knew about the garden as we had shot near there before and the moment we walked in I seen the burst of light coming through the trees and I said “yeah, this is it, this is where we tell a story”

The story of having not enough time to do all the things that bring us back to ourselves, constant pressure and work, having “so little time” to ourselves to enjoy the little things.

Natural light plays a central role in your images. How do you work with it, and what challenges does shooting outdoors in changing daylight present?

I’ve always been a fan of natural light, I love playing with little pockets of it and often that’s what draws me to a location and a frame within it.

I wouldn’t say I see any sort of light as a challenge. It changes as it may, I feel that often helps direct the story and sets the mood. Be low light, bright light, pockets or bursts, they all have their place in creating frames within the tale.

The styling pairs relaxed linen tailoring with delicate vintage props — the birdcage, the antique clock, the porcelain. How did these elements come together to shape the mood?

The styling was provided and styled by Isis and @identityfashion.online, I take no credit for that, I love giving people absolute freedom to wear whatever they feel comfortable in and whatever expresses themselves the most.

The props just kind of fell into place as we set out with the idea to use these elements some how, to create almost a lounging area to relax and unwind in the outside world.

Almost like we need to have it all with us because there is so little time between life’s moments.

Balancing it all became a visual analogy of balance life and chaos.

There's a strong sense of stillness and introspection in your subject. How do you direct a model to achieve that kind of quiet, unguarded presence?

Isis Davidge is flawless to work with and she embodies that stillness and calm every time we shoot, I give the slightest of direction and she just gets it, I honestly don’t think models get enough credit for creating the mood with the energy they project through expressions and poses. Here is an example of that. This is all Isis.

A joy to work with.

How would you describe your personal visual signature, and how has it evolved over the course of your career?

I think my signature is leaning towards that stillness previously mentioned, although I like movement in frames to create a story, I like capturing what feels like an emptiness within, not lost, but emotionally still, sometimes vacant.

I’d like people to see my images and feel a calmness yet intrigued as to what appears to be a vacant expression but can also tell a thousand words, almost melancholic it seems contradictory but staring into the soul of a subject and it glares back through photos is something I’d like to achieve.

What part does location play in your creative process? Do you build a concept around a space, or seek a space to fit a concept?

I always have a vague location in mind, be it moorland, beach or urban, always the setting and the loose theme is thought about but very much when I arrive I let the space help narrate the story and build on the the concept.

Which photographers, painters, or artistic movements have shaped the way you see and compose an image?

Greg Williams has always been my favourite for his natural movements and story telling, it’s almost journalistic and I’ve taken on a lot of his philosophy when it comes to getting that shot, however simultaneously I love the artist direction of helmut newton and the way he captures and composes frames, use of negative spaces, that combination with the added glare and filmmaking of Stanley Kubrick. These are my main influences for sure!

Walk us through your post-production approach. How much of the final atmosphere is created in-camera versus in editing?

My post production is fairly minimal, I try to Capture as much in camera as I can, I will colour grade to match the mood and vibe and that will lead the set, always try to straighten the frame, as I love symmetry and horizontal lines.

Minimal retouching to models because I want it to be real and real people to connect with my images.

But generally it’s minimal maybe the odd removal of a distraction but there is often perfection in imperfection and that’s what keeps real art and humans creating it separate from a new age of AI and generated art.

What do you look for in the creative team — stylist, model, set designer — when bringing an editorial like this to life?

I don’t look for anything other than willingness to bring things to the table, have an input, freedom to express and confidence to do so.

I like it to be a collaborative effort for all involved and leave the egos at home.

Flexibility too, just willing to go with the flow and let the story unfold and potentially create something amazing by running with the cards we are dealt!

What has been the most meaningful or formative project of your career so far, and why?

I think that has yet to come and I’m excited for that day!

Every shoot I have done is meaningful to my own story and my own growth.

But formative has yet to happen I believe and I’m excited for it.

I don’t ever want to stop progressing and learning.

What's next for you, and is there a dream project or direction you're still hoping to explore?

What’s next for me is progressing, more shoots, more clicks, more learning in different areas and becoming more versatile then hopefully, one day that brand comes knocking at my door and hires me to shoot that one great campaign for them!

But honestly, I’d also love to tell peoples stories with images, visual interviews .. “an afternoon with….” Or “backstage with…”

As long as I get to keep telling stories through images il be happy, getting paid for it would also be nice too haha!

Photographer: Forest Lewis @forestlewisphoto

Model: Isis Davidge @Mustard Models @isisdavidge