In a recent conversation with photographer Lowri Cooper, we were struck by how seamlessly she merges experimental fine art with commercial photography. Her thoughtful approach to blending analogue techniques with digital processes reveals a strong creative vision and adaptability.

We sat down with Lowri to explore how she balances personal experimentation with client briefs, navigates the challenges of commercial shoots, and keeps her unique artistic voice alive within a practical framework.

How does an experimental mindset shape a photographer’s commercial work? What strategies help maintain creativity while meeting client needs? And how can embracing process and materiality create images that stand out in both fine art and commercial settings?

It’s been a gradual process, shaped by both my environment and curiosity. I grew up in South Wales, surrounded by nature, with rolling hills alongside industrial structures. That kind of contrast really stayed with me – it taught me to notice texture, tension, and visual juxtapositions, which continue to influence the way I see and make images.

When I first started taking photographs, I was shooting a lot on 35mm – landscapes, portraits, still life – and spent time experimenting in the darkroom with techniques like solarisation, which felt magical. That love of analogue processes led me to cameraless techniques like photograms, cyanotypes, and scanner experiments. 

Over time, I became increasingly interested in the relationship between the natural and the artificial – how organic materials like flowers could be reimagined through light, technology, or digital layering. One of the first projects where I fully explored this was Grey Area, a series of scans that examined the tension between natural forms and digital or industrial interruption. It encouraged me to think more deeply about process, perception, and transformation. What I love most about this way of working is that it doesn’t depend on large productions or elaborate setups – just materials, time, and an openness to ideas and experimentation. That freedom is what keeps it exciting for me.

It changes from project to project, but I usually start with a strong visual or conceptual anchor – something rooted in materials, textures, or a particular mood. I often spend time drawing inspiration from art, film, photography books, and things I come across day to day – which really fuels my ideas. From there, I start building a story and begin working with materials, exploring how light, shadow, and form behave – scanning objects, photographing materials, and looking for ways to reframe or disrupt how they’re usually seen. There’s a lot of experimentation at this stage, and I like not having full control. 

Then I take those raw elements into the digital space – mimicking what was once done in the darkroom, using post-production techniques to create new worlds. It’s about finding that spot where an image feels carefully made but still holds space for surprise – part handmade, part digital, with a presence of its own and subtle traces of where it began.

It’s definitely about balance. I approach each brief with an open mind and see it as an opportunity for collaboration. Meeting the core needs of the brief is the foundation, but from there I’ll share ideas – ways to build atmosphere or push the narrative further. Whether it’s lighting a watch in a more sculptural way or weaving experimental techniques into fashion imagery, I’m always looking for those small windows where I can introduce interest and create the story through a more imaginative lens. 

I’ve been fortunate to work with clients who are drawn to my visual style, so there’s often space to bring more of that sensibility into the work. Clients like Selfridges and the Design Museum have been amazing to work with – they often want something that feels intentional and a bit unexpected, which really aligns with how I like to create. 

One challenge is time. Process-led or more experimental approaches often take longer or are less predictable, while commercial shoots tend to run on tight schedules with clear expectations. I’ve learned to plan thoroughly – testing ideas in advance and sharing references or techniques early on to clearly communicate the creative vision. 

Collaboration is also key. Working closely with creative teams to align on the balance between vision and deliverables, while still allowing space to bring in more nuanced or tactile approaches. That groundwork usually allows for some flexibility on the day and for ideas to evolve or shift organically. Ultimately, it comes down to building trust with the client – and when that’s in place, there’s often the opportunity to introduce more layered or unexpected elements that give the final images a distinctive and more personal quality. 

Trust your instincts – but stay open. The most interesting work often happens in the space between your perspective and the brief. Keeping a personal practice alive – through making, experimenting and refining your voice – helps keep your ideas fresh, and that energy naturally carries through into commercial projects. 

Even in commercial settings, there’s often space to introduce a layer of thought, texture or atmosphere that reflects who you are as an image maker. More often than not, that’s exactly what clients are drawn to. Make sure your portfolio reflects the kind of work you want to be hired for. If people can see your vision, they’re more likely to trust you with projects that align with it. The more your portfolio reflects your point of view, the more likely it is that the right people and opportunities will find you!

lowcooper.com

@lowcooper_