Welcome to a celebration of people, light and the stories it reveals.
Away with Fregz
Working, observing, and catching moments in between.
[Still] In Progress.
[To be] edited, adjusted, and lived with.
Fregz with his famous Suya Confit Duck Leg
[Still] In Progress.
[To be] edited, adjusted, and lived with.
I’ve been thinking about this one for a bit mostly because of the title, Away With Fregz, and how much it holds without really trying to.
It made me think about how I’ve randomly spent the last couple of years working in hospitality,
how that ended up overlapping with so many other things including meeting Fregz again,
gaining a proper appreciation of the culinary arts,
even watching The Bear around the same time,
which in hindsight feels a bit on the nose.
It made me think about how I’ve randomly spent the last couple of years working in hospitality,
how that ended up overlapping with so many other things including meeting Fregz again,
gaining a proper appreciation of the culinary arts,
even watching The Bear around the same time,
which in hindsight feels a bit on the nose.
Funny enough, I first met him on a shoot. His wife was part of a campaign I was working on,
and I remember having some “gourmet” food on set (I’m definitely using that loosely).
It wasn’t until years later while I was working in hospitality (which i talk about here)
that we crossed paths again properly. We started talking, and somehow
that turned into me being a sous at his first pop-up in London.
and I remember having some “gourmet” food on set (I’m definitely using that loosely).
It wasn’t until years later while I was working in hospitality (which i talk about here)
that we crossed paths again properly. We started talking, and somehow
that turned into me being a sous at his first pop-up in London.
At the pop up I’d already had a full day. I’d been out in Oxford shooting earlier (which is a whole separate story)
so by the time I got into the kitchen I was already a bit drained.
But even then, all I could think about was photographing.
This set of images is from the next pop-up. I probably had around 15 minutes in total to actually shoot,
just grabbing moments whenever I could step away from my responsibilities.
Aside from a couple of establishing shots at the start,
everything else came from those small windows.
so by the time I got into the kitchen I was already a bit drained.
But even then, all I could think about was photographing.
This set of images is from the next pop-up. I probably had around 15 minutes in total to actually shoot,
just grabbing moments whenever I could step away from my responsibilities.
Aside from a couple of establishing shots at the start,
everything else came from those small windows.
What I was drawn to more than anything was the process at the back-of-house, the in-between moments, parts people don’t really see or think about.
It can be such a chaotic space, but I try not to look at it in a messy way. Instead I think of it as everything is moving,
overlapping, happening at all once, and still somehow holding together.
It can be such a chaotic space, but I try not to look at it in a messy way. Instead I think of it as everything is moving,
overlapping, happening at all once, and still somehow holding together.
The closest thing I can compare it to is an engine; constant motion, different parts working simultaneously, all building towards something you only really see once it’s finished.
I don’t think these images fully explain that day, or even that space. They’re just fragments I managed to catch while being inside it.
The kind that makes you feel like the work is still happening, even after you’ve packed the camera away.
I don’t think these images fully explain that day, or even that space. They’re just fragments I managed to catch while being inside it.
The kind that makes you feel like the work is still happening, even after you’ve packed the camera away.