TIM WALKER

I'm very particular who I work with. I'm not interested in portraying women with a cliched, generic look. I'm interested in a model who I can take a portrait of.

You have to raise the bar. Give yourself a challenge. Ask yourself, 'How can one make the impossible materialise?'

I know the world that I am painting is not a reality. It is a whim, an entertainment to provoke something in people, whether as escapism or relief. I think that is very valid.

I like capturing stuff that is disappearing - that’s the point of photography. What I am photographing is an imaginary place that never existed, but is connected to something that has already been.

I don’t believe in originality. You take inspiration from whatever moves you and you find your voice in those things.

The point of fashion is that you take the picture you want. And fashion is the only photography that allows fantasy, and I'm a fantasist.

When I was at college, the idea of fashion was more immediate to me, whereas art photography, the depth of it, was a different thing. Storytelling - fanciful storytelling - can only be told through fashion photography. It's the perfect way to play with fantasy and dreams.

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.

Looking back at my earlier pictures, I think that the work is very much coming from the same place. I have gone through a period of challenging myself with a complicated idea to currently challenging myself with the idea of simplicity.

Your aim as a photographer is to get a picture of that person that means something. Portraits aren't fantasies; they need to tell a truth.

I've never been in love with fashion, actually; trends and catwalks don't interest me. I love clothes; I love them historically and currently. They represent a spirit of the times and the zeitgeist.

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.

It is very difficult to make the ideas in my head come to life, but what is harder is making them look effortless.

Only photograph what you love.

I'm very particular who I work with. I'm not interested in portraying women with a cliched, generic look. I'm interested in a model who I can take a portrait of.

You have to raise the bar. Give yourself a challenge. Ask yourself, 'How can one make the impossible materialise?'

Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.

Looking back at my earlier pictures, I think that the work is very much coming from the same place. I have gone through a period of challenging myself with a complicated idea to currently challenging myself with the idea of simplicity.

When I was at college, the idea of fashion was more immediate to me, whereas art photography, the depth of it, was a different thing. Storytelling - fanciful storytelling - can only be told through fashion photography. It's the perfect way to play with fantasy and dreams.

Your aim as a photographer is to get a picture of that person that means something. Portraits aren't fantasies; they need to tell a truth.

I don’t believe in originality. You take inspiration from whatever moves you and you find your voice in those things.

I like capturing stuff that is disappearing - that’s the point of photography. What I am photographing is an imaginary place that never existed, but is connected to something that has already been.

I don't want to sound mystical but sometimes when you take a picture - when the sets are in place - then something takes over and leads you. It's this sense of extraordinary luck and chance. The shoot is blessed and charmed, and you make pictures that you couldn't in your wildest dreams have imagined. That is the magic of photography.

I know the world that I am painting is not a reality. It is a whim, an entertainment to provoke something in people, whether as escapism or relief. I think that is very valid.

The point of fashion is that you take the picture you want. And fashion is the only photography that allows fantasy, and I'm a fantasist.