You might recognise his photos from multiple platforms, featured in publications like iD, Dazed, or even photographed some of your favourite drag queens. Maybe you even have one of his prints hanging in your home. Photography, when placed in the right hands, opens a world of colour. A medium that captures themes and emotions that words can’t explain but a lens can.
Dealing primarily with portraits, Matt Ford has ventured across different realms of photography, working with some of the most talented drag artists in the UK. What’s most impressive about Matt is not just his motivation but his willingness to explore his artistic options – even today, declaring he still doesn’t know what he wants to do. That is an artist, constantly evolving, experimenting and finding inspiration in all avenues.
Now, he’s taking on a new role, going down a mentor-ish path. With his new studio opening in Hackney on May 1st, Matt will host workshops on how to shoot drag queen portraits. A great opportunity for photographers of any level to get stuck in and learn how to capture the beauty of drag in any light, angle and contrast. We talk to Matt about the upcoming workshops, his journey in the art world, and how he constantly chooses to challenge himself.
Kirsty Bright: Starting from the very beginning, have you always felt drawn to the art of photography or the creative arts?
Matt Ford: Yes, I’ve always been creative in one way or another. I originally trained as a makeup artist, and photography was just a means to capture my makeup looks for my portfolio. But over time, the shoots became more elaborate, and eventually, photography took over.
Photography feels like just another tool in my creative arsenal. Screen printing, collage, set design, and digital manipulation all play a part in my image-making process.
KB: Did you grow up imagining you would be working in the photography world, and KB: what was your journey to where you ended up today?
MF: No, photography was never the plan. I just wanted to be an artist of some kind. I now move between making fine art and doing commercial/fashion commissions. No two jobs are the same, and to be honest, I still don’t know exactly what I want to be. As cliché as it sounds, I just like making things.
KB: Since relocating from Liverpool to London, how has your artistic perspective evolved? Do you find yourself influenced completely differently?
MF: Moving to London completely changed me. I relocated quite late, after a 10-year career in Liverpool, and had to start from scratch, figuring out what I wanted to do next. It was tough moving at that age without knowing anyone in the industry, but it was the best decision I ever made. I don’t think my influences have changed much. I’ve always been inspired by a wide range of things, and I make a conscious effort to keep it that way. For example, as a photographer, you shouldn’t only be influenced by other photographers—look at cinematography, surrealist painters, or colour schemes in nature or on the streets.
I do use Pinterest, but it’s a great example of an echo chamber of ideas. You’ll often see several photographers doing the same pose idea on the same colour backdrop. It’s important to make an effort to think outside the box.
KB: You work primarily with portraits; what specifically draws you to that style, and how do you go about capturing the very essence of your subjects?
MF: I love portraiture, but I’m particularly drawn to photographing performers and people who are larger than life. Both my work in the drag scene and, separately, in the kink scene capture the fantasy of what someone wants to transform into. Some highbrow photographers might look down on my “pop” style, but I believe there’s truth in my work if you’re willing to look closely.
KB: This June, you’ll be hosting workshops titled “How to slay drag queen portraits.” What sparked the idea for such a unique and introspective experience?
MF: I’ve guest-hosted similar events before, and they were so much fun. Everyone involved got so much out of it, and creating my own version has been in the works for ages. I’m especially excited to do the first one with Crystal. We’ve collaborated on a lot of projects, and we always manage to create something visually stunning. The students are definitely going to produce some great shots.
KB: You’ll be working closely with a group of queens for the upcoming lessons. How did these collaborations begin, particularly your work with Crystal?
MF: I first worked with Crystal in 2021 for my Prints for Queers charity exhibition . Since then, we’ve collaborated on a campaign called VOTE BABES!, which encouraged people to vote and was featured in Gay Times and Sky News. I’ve also shot many portraits of Crystal for their club night, MIMIS. Creatively, Crystal is always so easy and enjoyable to work with, as they are very open-minded about trying different ideas.
KB: For those who are interested in attending but are feeling unsure or lacking in confidence, what can they expect to get out of the workshops?
MF: The workshop will definitely cover some technical photography skills and advanced lighting techniques, but my aim is to make the day easy to follow and more of a creative exercise than an intimidating lesson. Anyone with a basic knowledge of a DSLR (and maybe no studio experience) will be able to understand what’s going on, but it will also be insightful for more experienced photographers who want to see how others work or try something new.
By the end, I hope not only will people have a great portrait they’ve taken of our drag star, but they’ll also feel confident enough to use a studio on their own and recreate the style with their own twist.
KB: Anyone who wants to start out in photography who may feel hesitant, what steps can they take to not only begin but slowly build their confidence?
MF: Just get out and practise. I’ve been doing this for years, and I’m still learning something new with every shoot I do.
KB: Having held exhibitions, how does it feel to see people attend and appreciate your work?
MF: I love it. Aside from people buying my work or attending a gallery show, I’ve also had exhibitions displayed in East London clubs like Dalston Superstore. Seeing endless pictures of people interacting with the work is incredibly satisfying.
KB: In addition to photography, you also work in videography. How did that come into your creative world, and how does it differ from photography? Do you find it easier to navigate and put ideas together?
MF: I find videography much more challenging. Creating a narrative, capturing sound, and making the final edit are all on a whole other level. But it’s another way of storytelling, and it helps me dive deeper into a subject.
KB: With such an extensive and diverse portfolio – a hard one – but if you had to choose just one piece that is your personal favourite image, which one would it be?
MF: I’m usually in love with whatever I’m currently working on and tend to dislike everything I’ve done before. Right now, I’m working on building miniature landscapes and photographing them on Polaroids—all fully captured in-camera. I’m hoping to create an exhibition of the work in 2026. It’s such a sidestep from drag queens, but I’m obsessed.
KB: Looking ahead, what does 2025 look like for you?
MF: I’m opening my new photo studio in East London on May 1st. It’s been so much work getting it ready, but I can’t wait to see the opportunities it will bring and to meet the new creatives who will use the space.
Book a Workshop: here
