In this exclusive interview, we had the pleasure of speaking with renowned photographer Julia Fullerton-Batten. Julia shares her journey from a toddler fishing prints out of the tub before she could enjoy a bath to becoming a celebrated visual storyteller. Her unique approach to photography, characterised by meticulous research, authentic portrayals, and complex lighting setups, has earned her a distinguished reputation in the industry. Through her candid responses, Julia offers a glimpse into her creative process, the challenges she has overcome, and the influences that have shaped her career. Aspiring photographers and enthusiasts alike will find inspiration in Julia's dedication to her craft and her commitment to sharing knowledge with the next generation of artists.
Background and Inspiration
How did you get started in this industry?
My first acquaintance with photography was as a toddler when my elder sister and I fished prints out of the tub before we could enjoy our evening bath. Our dad had taken up photography when my sister was born, he wanted to document the life of his children. His tools were an East German Practica camera, and a makeshift darkroom with equipment for developing, printing and enlarging his B&W film. Hence the reason for removing prints as a result of his darkroom activities, almost nightly it became our first viewing of his street photography.
As a teenager I started to ‘borrow’ my father’s cameras and began taking rudimentary shots of my siblings and friends, just life around me. When I was 16 our parents divorced and we moved from Germany to the UK where I completed my education in Oxford. To the astonishment of the rest of the family and somewhat rebelliously, I took the initiative and enrolled myself at a college in Reading, Berkshire to study photography.
I learned a lot from a month long work experience at Vogue assisting Mario Testino as work experience and after graduation working for five years as a freelance assistant to professional photographers. Competing at that time in a mostly male dominant environment was an experience. Most of the time I was working 24/7 for various photographers, but would travel with my partner for many weeks to interesting countries. I entered images shot in Vietnam into a competition and won a significant award that kick-started my career, led to printing my first book and obtaining a commission from the National Portrait Gallery to shoot the portraits of sixteen people prominent in the national health service, which are now in permanent collection in the Gallery.
Creative Process
How would you describe your photographic style?
Essentially, I am a visual storyteller. My projects start with an idea that I mull over for quite some time before I commit to starting work on it in earnest.
My aim in my art projects is for authenticity, aiming an accurate and realistic portrayal of location, setting, clothing, physical characteristics, even to the portrayal of the behaviour and temperament of my subjects. I start off with thorough background research in books, online, documentary films, or in museums, etc.. On many occasions this research itself has taken me months.
Casting, styling & locations are all very time consuming and involve numerous trips to props houses, vintage clothing suppliers, location recce’s etc. I tend to work very closely with stylists for props & wardrobe but I do my own casting and location finding.; this can take weeks to complete but I really enjoy it as I know I’m getting closer to the moment when I get my camera out of its case.
If my idea is based on real historical events, I strive to be authentic by making sure that I accurately depict locations, settings, clothing, physical characteristics, and in portraying the behaviour and temperament of my subjects. My research normally includes books, online resources, documentaries etc…..
Part of this pre-production stage is assembling the crew… get this wrong and the whole thing falls apart! My shoots tend to be large with complex requirements. I’ll often have 25 lights on set in locations where there are serious issues, like the tide coming in, and therefore I normally have a lot of assistants…. It’s quite normal for me to have 10 assistants on set. I have one first assistant who I talk to and then he delegates the tasks…. A bit like a 1st AD on a film set. The more prep I do at this stage, the easier the shoot goes.
On set I supervise the positioning of the flash, props and brief the models on the role they have to play. I view everything on a large screen tethered to my Hasselblad and make adjustments accordingly. After the shoot comes the more laborious matter of editing and printing the best of the selection.
What makes a great photograph?
For me it’s an image that provokes a reaction from the viewer. I don’t even mind if it is a negative reaction, in preference to walking past without observing it or taking it in. Success is when the viewer is provoked to go back and look at the image again, having seen something different or new on the second viewing.
Challenges and Achievements
What has been the most challenging shoot you’ve ever done, and how did you overcome it?
The most technically challenging project was Old Father Thames, this was a veritable minefield. The River Thames has a huge tidal movement of up to 7 metres and this means that you have to get in and out within a very limited time window. It’s dangerous, muddy and it makes the simplest of tasks a challenge; it requires more planning, more people and more cleaning of gear afterwards.
My image ‘The Ladies Bridge’ is a prime example. This was a representation of the building of Waterloo Bridge during WWII when women replaced men, as the men went out to war. There were approx 70 people participating in the shoot and a lot of photographic equipment, and heavy machinery, etc. had to be removed before the next tide arrived. Part of the bridge in the image had to be reconstructed in CGI. This mage is a recreation of a historical event that took place during a crucial time in our country’s history.
There are often comments on your posts about why so many lights on your set. Can you give a brief answer?
Much of my style of photography is based on my interest in the artwork of painters through the centuries, from Rembrandt to Edward Hopper, among others. With time I have developed my style of lighting based on their and other influences such as film. My style of lighting is a signature style of my photography.
What image are you most proud of?
‘Ophelia, after Millais’ is my favourite. I think it it’s a very good reproduction of Millais painting and many others have commented in similar vein; it’s my most sold artpiece. But foremost are the hidden details in making the image add to my pride. I had decided many years ago that I wanted to replicate Millais’ Ophelia that I have admired ever since I first saw it as a teenager in the Tate Gallery in London. My background research established that Millais painted Ophelia in two stages. The background he painted in Hogsmill River, a tributary of the River Thames and then painted in his muse reclining in a bath in his studio. I realised that I could shoot the image in one shot and set about finding a model with the same hair and features as Elizabeth Siddall, Millais’ model. By sheer luck I managed to find a local clergyman who knew the exact spot on the river where Millais painted his background. The second achievement was to identify all the flowers strewn around Ophelia and to reproduce all of them faithfully.
Industry Insights
How do you see the photography industry evolving in the next few years?
Some perceive AI to be a threat to photography as we know it today. I am hoping that my style of photography, especially with my complex lighting, will still predominate.
Why do you choose to rent equipment through Direct Digital?
My lighting needs are especially extreme to say the least. It has always been a pleasure to deal with a truly professional, committed, up-to-date and reliable lighting specialist such as Direct Digital Rental for the supply my lighting, as well as on occasion other digital equipment. The equipment is well looked after and reliable. I always try different light shaping and get great advice if sometimes I may be out of my depth with a look I want to achieve. The staff there know the kit and know what they are talking about.
What advice would you give to aspiring photographers looking to make a mark in the industry?
You have to live and breathe photography. Your heart has to be in it. You can be influenced by others but don't copy them. Don't let fear hold you back. These days it isn’t just about photography but also building a brand.
How important is a strong social media presence to you and your field of work?
Well a social media presence in today’s world is important, especially as a photographer to have a successful website. But I feel that this is a chicken and egg situation, you can’t attain a strong profile unless your work is judged to be successful.
Personal Insights
What do you enjoy most about being a photographer?
It is a career that I love and makes me happy daily.
How do you stay motivated and continue to grow as an artist?
There is the satisfaction of producing successful images
Tell us about your recent training day and why you decided to impart so much knowledge with your followers.
It was a super rewarding experience!!
I have some admirers that have asked me for years if I would ever host a lighting workshop. For many years I was asked to travel and give talks, for a long time I declined the offer as I prefer to be behind the camera. One day I decided to say ‘yes’ to everything and started travelling more. I really enjoy it now; and what I enjoy the most is that I feel I have something to share, not realising until now how much knowledge I actually have. Photographers are keen and super enthusiastic.
Once I announced the work shop it was sold out within days, I opened up a 2nd day, then a 3rd.
Enthusiasts flew in especially from all around the world. I decided to have a mic and split the day up in different segments. Starting with a talk, then sharing my tips on lighting, and showing a live shoot, followed by Q&A. This included which lights I use and how I use them, the light shaping I work with and why….mixing available light with flash and how important this is, shooting background plates and the importance of nuanced post production, directing talent and creating the narrative, controlling the colour palette, how to use coloured lighting gels, diffusers and cinefoil. And finally, balancing art with commerce. The attendees were welcomed to ask questions any time.
Sometimes I feel we are on our own in this industry, and often us photographers can be very competitive. Over the years I have met many photographers from festivals or group shows. We hang out together and often we keep in touch and give each other advice.
I changed my outlook to photography over the years, and like to share more and be more collaborative. There is a payback for this. When you give something does come back. In each session we set up a Whatsapp group where share important info about competitions or some interesting gallery openings, or festivals to visit. It is super rewarding that a couple of people already have won awards they may not have entered. This feels good.
Since then I have hosted a workshop in Mexico City and am organising one in LA for November 2025.