Adrian Farr

Photographer Male London, England, United Kingdom My MM URL:
Mayhem # 2851537

About Me

Hi, my name is Adrian Farr. I am a visual storyteller and conceptual fashion photographer. This is my full time career and I absolutely love what I do. At heart I am inherently curious and have an ardent streak of adventure. I am inspired by fantasy and high fashion. I prefer to make everything for real in camera, rather than relying on Photoshop to create the impossible.

I have been published in international magazines such as Dark Beauty, Solis and Shutter Mag, and featured on global platforms such as CreativeLive, Fashion World and Samsung. I try to get published somewhere with substantial credibility and a large following for maximum exposure. I am all about growth and therefore push myself and my teams to do the very best we can.

My images are a fusion of fine-art and surreal fashion, and I love to create fantastical stories that seek to interweave a visual narrative between imagination and reality. I carefully plan, structure and direct my shoots like a mini movie production. My shoots are demanding and everyone involved needs to sign a shoot agreement and non-disclosure, but at the same time they are an incredibly fun and unique experience.

My photographic style is best suited for you if are looking for stand-alone imagery that is vibrant, fantasy inspired, slightly edgy and dark. I can come across as quite formal and direct, but I promise you my personality behind the camera is the complete opposite to the serious and intense images I like to create.


I am using Model Mayhem to recruit proficient, talented and enthusiastic creative teams. I am primarily searching for:

- FEMALE MODELS who have unique fascinating looks, who are experienced, reliable and professional, but most importantly, have a great personality too (we need to get on like a house on fire)! The models I work with take on complex character roles for my stories, and my shoots are often quite long and challenging. For most of my concepts, I typically seek industry standard models between 5ft 9" and 6ft, who are in good shape (athletic/slim build) and can pose well on their own, and yet also follow good direction too, so that I may create elegant and dramatic images that are 'otherworldly'. If you have tasteful fine art nude in your portfolio that is OK, but if your portfolio is purely made up of sleazy glamour or soft porn, then the likelihood of us ever working together, is as high as me winning the lottery jackpot 3 times in a row! Just saying ;)

- Professional FASHION STYLISTS who have great attention to detail and who are not afraid of a creative styling challenge. Ideally I seek stylists who have the confidence and contacts to source almost anything; including more specialist outfits such as couture and avant garde, or high fashion. I mostly shoot on location with challenging setups, so having the skill to take care of and look after expensive fashion garments and accessories, in difficult weather and environmental conditions is crucial. You must therefore have your own 'goods in trust' insurance.

- Reliable, experienced, and naturally gifted MAKEUP ARTISTS and HAIRSTYLISTS who can excel in high-pressured, time sensitive shooting conditions, where multiple looks may be desired for a story, and who can also offer creative input when needed. Because my shoots are so structured, any delays in hair and makeup can have a knock effect on the entire production.

- Talented FASHION DESIGNERS who have a flair and passion for creating a more theatrical look, whether it be couture or avant garde. Fashion plays an important and primary role in my work, as the costumes need to define the characters of my stories, much like a film or TV series.

- Awesome SET/PROP DESIGNERS with an explicit eye for shape, texture, colour and design. I have gone through the whole 'create it in Photoshop' stage, and I am now more interested in creating special effects for real; in camera. I am a strong believer in the "if I can imagine it, then I can create it for real" theory. Therefore I am looking for talented crafts people who can help me make the imagination for real, with epic and dramatic scenes, and realistic, believable props.

- LOCATION/PROPERTY OWNERS. Like a film or TV series, having the right location is paramount to the stories I create. I tend not to do my creative shoots in studio but shoot on location, as this is much more visually dynamic and interesting. I also like to gain exclusive access to unique locations that other photographers cannot shoot in, so that I may create entirely original images. Please ask for references from property owners I have already worked with.

- Passionate and enthusiastic ASSISTANTS who want to learn, gain experience and get an insight into what goes into a conceptual fashion or fine art production. I prefer to use assistants who already have some photographic experience and knowledge, including lighting setups, taking behind the scenes images, and who can work on their own initiative, without needing lots of hand holding or babysitting. Being a mind reader is a very desirable skill to have. You will need to be actively fit and relatively strong, as my shoots often involve hiking to and from remote locations, with lots of heavy and awkward equipment, as well as plenty of running around and climbing up and down sets. Please note, my shoots are NOT an opportunity for you to build your own portfolio, promote your own photography, or build new contacts for yourself from my teams or clients. Please do this in your own time and at your own expense, thanks. :)

- Creative VIDEOGRAPHERS/FILMMAKERS with a storytelling approach and style. I am looking to start creating behind the scenes and promotional showreels for my shoots and projects on a regular basis, to use on social media, blogs and marketing, and to also create mini movies that fit the stories being captured in stills. Any music used must be legally licensed for commercial use.

- HIGH-END RETOUCHERS. Typically I do my own retouching so that I may create the fine-art look I initially had in mind and because this is an extension of my own personal style. However I will consider using certain retouchers from time to time, depending on what it is for. I prefer to use retouchers who use Photoshop to enhance not alter images, and who are adept at healing on blank layers, and dodging and burning using non-destructive techniques such as curves, evening out colours and tones using colour balance methods, and who only use liquify to correct camera distortions, not drastically alter a model's shape or appearance! As opposed to those retouchers who primarily use frequency separation and smoothing filters to correct/enhance skin.

*If you are afraid of hard work, long hours, early starts and late finishes, getting wet, cold or muddy, then my shoots are probably not best for you. I prefer to work with those who can drive and are willing to travel. What you will get from me in exchange, is a professional and structured photographic approach, with clear direction, guidance and constructive feedback, every step of the way, so that no-one is left in the dark and everyone is on the same page. You will get a creative vision and an entirely unique and original perspective where no idea is too grand. You will receive competitive compensation or publication in popular magazines, or at the very least, strong images to use in your portfolio. But most importantly, you will enjoy the process of creating and have plenty of fun doing what you love most, with a team of like-minded professional people who share the same passion, dedication and enthusiasm.*


***COLLABORATIONS - Please note I will only consider collaborations/trade/test shoots with you if your work is at least to same standard as the very best work in my own portfolio, or you come to me highly recommended by someone I know and trust. Sorry but I cannot afford to give up my time for nothing less. If I can see potential in your portfolio, I will arrange a test shoot with you to see if we can work well together and that our personalities do not clash. Generally, I only do trade shoots for projects that really excite me, or which can help advance my career/portfolio further or help expand my network. And only with collaborators whose portfolios align with my own style/vision or where I can see any potential opportunities.

All costs involved in any trade or collaboration shoot must be equally and fairly split between all those on the creative team who are working for portfolio images (even the model), including but not limited to; travel costs, parking, food, hiring equipment or costumes, makeup kit costs and anything else that directly contributes to the creation of images. Everyone is benefiting with portfolio images or publication, therefore it should not be my responsibility to cover all the expenses involved in a collaboration shoot (unless of course it is a personal project that I am myself pioneering). I will usually only do trade shoots if I can see that everyone involved will benefit in the same equal proportion for the time given. For such collaborations, my time planning, turning up and time spent on set, and my skill and talent spent creating the images is what I am trading, just like everyone else who is involved. Therefore I will only ever release the final retouched images from a collaboration shoot, if I am entirely satisfied with the end result, and I feel that the images are the best representation of EVERYONE's strongest work, particularly my own.

Therefore if the images do not enhance or add something to my own portfolio (for example if the makeup is not as strong as it could have been, or if poses and expressions are not believable), then the images will not be released to anyone else on the team, as I cannot afford to spend additional time correcting the mistakes and errors made by others, unless I am being commissioned to do so. Of course, my goal is always to try and provide strong images for everyone's portfolios, but please do not expect or demand them, or request them to be done by a certain time. Retouching for commissioned work will always take priority over collaboration shoots.

If I need to cancel a collaboration shoot, I will try to give at least 72 hours notice, except in unforeseen circumstances that are out of my control such as; acts of God, acts of terrorism, sudden illness, accidents, family emergencies or let downs by other collaborators. In such events I will try to arrange an alternative photographer, if possible. Therefore please extend this courtesy. If you agree to collaborate on a shoot and then cancel without good reason and viable proof, without at least 72 hours prior notice, or arranging an alternative who is at the same standard and skill level as yourself, you will be invoiced for a full day's work from both myself and the rest of the entire team that has been let down by you. Failure to pay such compensation will result in debt recovery action as per the shoot agreement. Sorry but this is something I have to enforce due to past experiences. Please respect my time, costs and input, just as I respect and value yours.

I also own a portrait photography business, so if we are not able to work together on a fashion or fine art project, there may still be an opportunity for us to collaborate on something less extravagant and demanding. Should our styles not align and I am unable to collaborate with you on a trade shoot, I am however available to be commissioned for creating look books and portfolio building sessions, either on a half day or full day basis, depending on your own individual needs, and production costs would also need to be covered. But please do feel free to ask if you have a specific project idea or theme you would like to work on.***


**MODEL RELEASE - Due to the independent nature of my conceptual art, and where my images may potentially be published (magazines, galleries, book covers, competitions etc), I typically only work with models who can work for me on the terms of a full standard model release, which means a one-off fee or agreed exchange (such as portfolio images) for the specific work done, releasing all rights to the images (i.e. not a commission/royalty basis - unless that is something we decide to agree on). I mostly work with freelance models direct, but it is fine to be agency-signed, as long as those commitments do not affect our shoot, or prevent commercial use of any of the images I create.**



- 1905 Magazine (May 2015)
- Solis Magazine (April 2015)
- Shutter Magazine (December 2014)
- Animoto Blog (November 2014)
- Fashion World Magazine (November 2014)
- CreativeLive Blog (October 2014)
- Shutter Magazine (October 2014)
- ViewBug (September 2014)
- Photographer Depot Blog (July 2014)
- One Model Place (July 2014)
- One Model Place (July 2014)
- Purple Port (June 2014)
- SWPP (June 2014)
- Purple Port (May 2014)
- CreativeLive Blog (May 2014)
- CreativeLive Show (May 2014)
- Purple Port (May 2014)
- Samsung (April 2014)
- About Me (March 2014)
- Shutter Magazine (March 2014)
- CreativeLive (March 2014)
- Norwich Fashion Week (February 2014)
- Dark Beauty Blog (November 2013)
- Dark Beauty Magazine (November 2013)
- Norwich Fashion Week (August 2013)
- The Norwich Resident (July 2013)
- City College (April 2013)
- Norwich Fashion Week (March 2013)
- Somerset House (April 2012)
- World Photography Organisation (March 2012)
- Crystal Ski Blog (February 2012)
- The Telegraph (December 2010)

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