Sticks and Stones

In keeping with our mission to support and inspire creativity, we ask the artists we collaborate with to offer insight into their work, a look behind the scenes, and the opportunity for our readers to learn more about the process. For our latest fashion feature, photographer Thomas Valtin answers our questions.
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What was the inspiration behind this shoot?
The inspiration for this shoot was the idea of navigating life’s challenges with resilience, using the branch as a symbol of strength and grounding, while the jewelry becomes a form of personal armor that represents the inner value we carry through it all.

What was the first step of putting together the concept and idea for this shoot?
My first step is always to connect with a stylist or another creative and simply talk through the idea. Talking it out helps me shape my thoughts and visualize them more clearly.

What is your favorite image from this shoot and why?
I’ll answer this very honestly: most of the time, I don’t really like my work once it’s finished. There were times when that was hard to deal with, but I’ve learned to use that feeling as motivation to move forward and dive into the next project.

Who or what are some of the biggest inspirations for your work?
It changes a lot. Of course, there are a few artists I really admire, like Joel Meyerowitz or Andrei Tarkovsky, but most of the time I find inspiration in my surroundings. I’m not a very outgoing or loud person—I like to observe. I’m fascinated by human behavior and always try to find stories in the small social interactions and moments that are part of my everyday life.

How do you typically find inspiration for your work?
Thinking, philosophy, and watching people.

What are some themes that you are frequently drawn to in your work?
I think I’m often drawn to loners and those in-between moments—when people aren’t focused on being seen and are simply with themselves. Small gestures like fixing their hair or adjusting their clothes really interest me. I also often like to hide or obscure faces, shifting the focus more toward body language and the moment itself.

How would you describe the style of your work?
I haven’t found it yet! Style is always evolving, and I think it takes a long time and a lot of shooting to really find your own visual language. For me, fixating on one style feels like stopping halfway through exploring a jungle that still has so much left to discover.

What do you do to overcome a creative block?
Usually, I don’t experience the typical creative block—my brain is constantly working and ideas tend to come quite naturally. What does happen to me, though, is a kind of conceptual blackout on set. I often have a very strong vision of the shoot the day before, but if something doesn’t work out the way I imagined, my mind can suddenly go blank. Over time, I’ve learned how important it is to work with the right team—people who have your back, keep you grounded, and help you find your way back into the concept.

I’ve also learned to create more of a framework for the overall story rather than fixating on specific images. It gives me more room to move, takes away some of the pressure, and leaves space for spontaneous creativity.

Do you have any surprising essentials on set?
No! Standard cameras, standard lighting...

Are there any trends that have caught your attention recently?
No, I don’t like trends.

Is there anything you’re experimenting with or hoping to explore in your future work?
I experiment a lot with analog printing. I have my own darkroom and have invested in all the equipment I need, so I now have a really professional space where I can dive deep into the process. For me, printing is such an essential part of working analog—and it’s incredibly difficult to master at a high level. Developing my own visual language through printing is something I’m really focused on at the moment.

How do you see your work evolving in the coming years?
I can’t tell yet.

What is something you wish you had known when you were starting your career?
A lot, to be honest. But I think it’s part of your own journey to understand how you and your body of work fit into this industry. There are many different ways to be seen and to find your place. The important thing is to understand that it can take a lot of time, especially if you don’t naturally start out with an existing network or connections through family.