Style Guide: Embracing Experimentation with Fraser Chatham

Fraser Chatham is a dynamic photographer and director repped by FAMILIA. Fraser burst onto the scene with a bang in New Zealand, and made history in 2019 as the youngest photographer ever featured in Lürzers Archive’s top 200 worldwide—a position he’s held ever since. Now based in London, Fraser specialises in commercial direction, studio still life and product photography. Fraser’s knack comes from effortlessly blending photography and directing, crafting stories through his visuals, with an unparalleled eye for detail and an innate understanding of the evolving industry. 

LBB> How would you describe the work that you do?

Fraser> I’m a director and photographer that predominantly focuses on still life and product work. 

LBB> And do you have a particular style (or styles) that you like to work in? If so, how would you describe that?

Fraser> In short I would describe my work as precise lighting and compositions that are dark and atmospheric in tone. I’m drawn to crafting an image and creating an environment where subtle nuances of an object's materials and design are highlighted.

LBB> How did you gravitate towards the particular medium you work in?

Fraser> I found my way into studio photography while at art school, where I became obsessed by the level of control it offered through lighting. Spending hours in the studio, meticulously tweaking lighting setups to observe their impact on objects, fascinated me. Moreover, given my passion for industrial design, still life photography felt like a natural fit.

LBB> And when you started developing your creative skills and styles, what were your inspirations and influences?

Fraser> After art school, I worked at a rental house, where I was introduced to the film and photography industry. In evenings and weekends I worked on personal projects and honed my skills, learning the equipment and experimenting creatively. Interacting with the creatives that came into the studio Photographers, DOPs, and Directors fueled my inspiration and made me really excited about the prospect of doing it as a career. 

Also, my education in conceptual art and visits to galleries influenced me a lot.

LBB> How has your style evolved over time - and can you talk to us about some of the stylistic experiments or avenues you’ve explored over the years? 

Fraser> Over time, my style has evolved a lot, yet my approach remains consistent: I thrive in controlled studio environments for creating my work.

Initially, as a photographer, I produced vibrant, colourful images with abstract elements, driven by a fascination with colour, form, and pushing the boundaries of photography's aesthetic. I was interested in bridging the gap between CGI and traditional photography.

As time progressed, my work transitioned towards darker, more atmospheric tones, embracing simplicity and perhaps a more 'purist' approach. My subjects shifted towards more organic themes, where my work currently sits.

LBB> Has there been a specific project that has shaped your style ?

Fraser> I feel like my style is an ongoing evolution, shaped by exposure to new work, and developing taste. While there hasn't been one specific project that crystallised my style, there have been pivotal moments. 

One significant moment recently was relocating from New Zealand to London last year. This move prompted a reevaluation of my whole body of work, leading to a clearer understanding of what I love to shoot.

LBB> What sort of ideas shape your style today?

Today, my style is characterised by soft, refined lighting, a minimalist earthy palette, and a simple approach to styling. I'm particularly interested in juxtaposing organic objects within a studio setting. Currently, I'm exploring a series where I construct sections of landscapes in a studio, which encapsulates the conceptual direction of my work at the moment. 

LBB> From NFTs to the metaverse, there are more spaces for your work to show up - what are your thoughts on the impact, challenges and opportunities brought up by these new spaces? And do they influence how you think about your style (ie. is there pressure to adapt or change your style to fit these new digital frontiers - or is it kind of exciting?) 

Fraser> The emergence of spaces like NFTs and the metaverse presents both challenges and opportunities, although I'm not sure about their specific impact on film and photography. 

There's certainly pressure to adapt to this evolving landscape, although I'm still figuring out what it means for my work. But, rather than being afraid of change, I see it as an opportunity for experimentation.

LBB> Working in the commercial sphere, is it more important for an artist to have a distinct brand or style? 

Fraser> I believe it's crucial to develop a distinct style. However, maintaining consistency while evolving and expanding the practice can be really challenging. While a consistent style is super important, I also try to embrace experimentation and failure as part of the process in developing a style. 

LBB> What’s the balance between having a distinctive voice and being able to accommodate the visual language of the brand/campaign?

Fraser> In the best case scenario clients or agencies approach is based on our existing body of work, which naturally influences the overall look and feel of the campaign. But it is important to acknowledge that not every project will perfectly align with my personal style. It's a delicate balance.

LBB> Typically, on a commercial project, how do you like to tackle a brief?

Fraser> Typically, I find that I can quickly grasp how I envision a project looking and feeling after being briefed by the client. Once I have that initial idea in mind, I create a doc supported by references and short text outlining the approach. During pre-production, I prioritise open dialogue with everyone involved to ensure we’re all on the same page as we move into the shoot. This involves working closely with our crew, whether it's through sketches, models, or other means, to clarify and refine the concept. Additionally, maintaining constant communication with both the agency and client is key throughout the process.

I like to work with detailed storyboards and animatics. I've found that this approach helps in visualising how the final edit will come together.

LBB> What projects have you worked on recently that you feel were a really satisfying marriage between a brand and your own style? What was it about these projects that made them really interesting to work on?

Fraser> Last year, I had the opportunity to work on a stills project for Adidas, focusing on capturing their sustainable manufacturing process. We shot at Adidas HQ in Nuremberg and a manufacturing facility in Konya, Turkey. What made the project particularly engaging was how well the brief aligned with my personal style. 

What added an extra layer was the challenge of working in nimble, fast-paced sets, which isn't something I do often. Stepping out of my comfort zone pushed me to adapt creatively.