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The film-maker who believes that a photo is for life

Adam Docker is the latest in a long line of cinematographers to find solace in photography

'Dance into motherhood’ from the series Motion and Emotion by Adam Docker

Film-maker Adam Docker is launching his first solo photography exhibition, Motion and Emotion, in London.

An exploration of identity, intimacy and living in the moment, it includes portraits, cultural documentary and conceptual images.

Here, he explains how he brought Motion and Emotion to life.

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‘Banana woman’ from the series Motion and Emotion by Adam Docker

You’ve been a cinematographer and director for more than 25 years. How has this influenced your photography?

Having travelled to the depths of the Amazonian rainforests and over 300 cities, I’ve always had a camera by my side on my trips. For a long time, however, I never gave photography much thought and only ever used my devices to capture quick snaps and selfies when filming.

One year, I brought my Fuji X100 with me on a holiday to Japan with my son. As I played around with Photoshop in my hotel I was blown away by how much I could push the image from this tiny little camera. That changed everything for me.

The more I manipulated images in Photoshop the more connected I became with photography and the camera. Bit by bit I became increasingly aware of how I wanted the result to be before taking a photograph.

Photography is now a huge part of who I am. It’s my mental wellbeing. It’s a way for me to express and experiment [with] my own personal vision that’s not tied to client demands. It’s also an additional tool I use on film shoots.

I take portraits of the people I film. There’s nothing like filming with someone you’ve worked with previously and turning up with a print of their portrait. To see their face light up is an incredible feeling. Filming is so transient. I find that a photograph remains in the consciousness longer. A photo is for life.

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‘Sunset football’ from the series Motion and Emotion by Adam Docker

What inspired Motion and Emotion?
For years, my friends suggested that I create an exhibition of my photography, but I never felt ready.

During the COVID-19 lockdowns I started entering my work into awards, such as Portrait of Humanity and Portrait of Britain, and was surprised when I won or was selected as a finalist. This gave me the confidence to start experimenting with my photography while on my travels.

I’ve spent all my life behind the lens telling other people’s stories. Putting your work out on display for other people to see, judge and comment on is a vulnerable experience. And I’ve always been highly self-critical. But now I’m in a place where I can accept that this work is who I am and where I want to be on my photographic journey. It’s time to put my photography out there.

What are you exploring through Motion and Emotion?
I’m hypervigilant because of my documentary film background, so I’m always looking around at mood changes in human dynamics. Motion and Emotion is about capturing a moment, a story, an energy and a feeling, all to create an appreciation for the small details and seemingly irrelevant moments that remind us of the beauty of our temporary existence.

I often shoot unexpected or candid moments, which I hope captures the profound things I’m feeling in the moment and offers a glimpse into an authentic, vulnerable and human side of the subject matter. There are times when I see something and I’ll aim the camera without looking through the viewfinder. I want to be surprised by what I’ve caught – like the moment a polaroid comes to life.

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‘Silver dress’ from the series Motion and Emotion by Adam Docker

I’m interested in the texture, the kinetic energy, the colour and the expression of a moment. And every person, location, day has a different energy. As a photographer, it’s about feeling that and allowing yourself to be guided by that energy. To connect with the story or the person and to express yourself in the best way that suits that moment.

When were the images for Motion and Emotion shot?
They were captured over five years while I travelled different countries. Embodying a documentary feel, some were taken on the hoof while others were more considered. I don’t have a particular style and approach each photo differently.

Certain photographs arrived fully formed, but I played with others to attain a particular look or feel. For example, I enjoy creating depth by adding movement and colour or shooting with a high ISO to give grainier and thinner textures. I’m also known to take elements from one photo and add or layer them onto another photo to create a collage effect.

What images in Motion and Emotion stand out for you?
‘Dancing into womanhood’ is one. While driving to Maseru city in Lesotho, I took lots of pictures of a group of girls in tribal wear who were performing a special tribal dance into womanhood while singing the most intoxicating and beautiful song. I layered each photo on top of one another and smudged elements to give the image momentum. I wanted to create a photo that captured their energy and movement in a single moment.

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‘Water fight’ from the series Motion and Emotion by Adam Docker

The photo ‘Sebastian’ is another special image. I took it on a remote empty beach while on a motorcycle tour of Sri Lanka. While taking shots of the crashing waves, this figure came up to me smiling and said, “Hello, my name’s Sebastian and I have no mother or father”. I asked him some questions, but that was the only English he spoke. I photographed Sebastian just as a huge wave crashed behind him.

Capturing these special moments of meeting people who are quirky or have a story to tell is what it’s all about for me.

What do you want visitors to take away from seeing your work at your exhibition?
A few years ago, I made a short film about a deaf girl which was displayed in the Tokyo Room at the Royal Victoria and Albert Museum in 2023. While watching how people interacted with the film, I was struck by how they connected emotionally, with many walking away in tears or with their hands clutching their chests. This was an important reminder for me of the profound emotional impact and experience that viewers can take away from our artwork.

Most of the prints are A0, with a few sized at A1. I deliberately chose these scales because I want viewers to immerse themselves in the colours and textures of the photographs.

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Sebastian’ from the series Motion and Emotion by Adam Docker

Motion and Emotion by Adam Docker is at the J/M Gallery, London, 9-15 October. Discover more by Adam Docker on Instagram @baronmeister.