This activewear series was a fully self-produced project; photography, styling, creative direction, and modelling all handled by myself. The concept was to capture three expressions of the active lifestyle in one cohesive body of work: a clean studio moment in a navy seamless unitard, a sun-drenched on-location frame in a matching yellow set styled as a genuine pre-training ritual, and the hero shot; a full mid-air stride in head-to-toe white against raw brutalist concrete. Working as both photographer and subject meant every composition and lighting setup was planned and refined across repeated takes until the movement felt effortless rather than engineered. Styled deliberately tonal and minimal, the set moves from stillness to ritual to full flight; proof that a single creative vision can carry an activewear story that feels both aspirational and lived-in.
Stillness is easy. This frame took flight; and about five takes to make mid-air look effortless. Photographer, stylist, creative director, model: all me.
Shooting Tami in Canary Wharf
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Active lifestyle work lives or dies on energy, and Canary Wharf gives you energy for free. I wanted to photograph Tami somewhere that felt fast and modern without tipping into corporate cliché, and the Wharf delivers that contrast effortlessly; mirrored glass towers on one side, the wide grey calm of the Thames on the other. The plan was simple: use the hard geometry of the architecture to frame a very human subject, and let her bike do the storytelling.
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We started with movement. I positioned myself low on one of the elevated walkways and had Tami ride straight toward me, the towers stacking up behind her. Shooting into that approach gives you genuine momentum rather than a posed "look, I'm cycling" stillness, and the long paving lines do half the compositional work for you. A few passes in, she relaxed into it, and the frames started feeling like a real ride instead of a setup.
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From there I pulled in tight. With the helmet, the green jersey and that big open London sky behind her, I wanted one frame that was purely about her face; no sunglasses, just expression. That's the quiet center of the set, and it only works because the backdrop stays soft enough to keep the eye on her.
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Then we changed register completely. I moved over to the twisting diagrid tower and the lamp-lit plaza for a more editorial moment: Tami leaning on the bars, chin resting on her hand, mirrored shades catching the architecture. After all that motion, a deliberate pause reads as confidence. It's the frame that makes the whole shoot feel intentional rather than incidental.
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Tami rides a Brompton, and I didn't want to hide that; folding bikes are central to how a lot of people actually move through this city, so I made it part of the narrative rather than a prop. For the closing shot we walked down to the riverside railings with the City skyline and the Shard sitting across the water. Bike folded, hand on hip, a real smile. That's the one that says: this is a person who genuinely lives this way.
The light did me a favour all afternoon; bright, broken cloud throwing soft shadows, the kind of sky that flatters skin and gives the buildings dimension without blowing out the highlights. I kept the styling consistent across every location so the four images read as a single shoot, and let the changing backdrops; towers, plaza, river carry the sense of a journey across the Wharf.
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The aim was never just "woman on a bike." It was rhythm: arrive, move, focus, rest, connect. I wanted four frames that each do a different job but clearly belong to the same story; a set that feels less like a product catalogue and more like an afternoon spent following someone through the city she rides every day.
