For Charlotte May, photography isn’t just about capturing a product; it’s about building a world around it. From the glossy precision of skincare campaigns to the crisp choreography of slow-motion shoots, the London-based photographer and director brings a striking clarity and artistic boldness to everything she touches.
Having worked with global names like Sephora, Olay, and Max Factor, Charlotte’s path wasn’t always a straight one. In this exclusive Member Spotlight, she opens up about her transition from the eCom grind to international commissions, how collaboration keeps her inspired, and why knowing your worth is the most radical creative act of all.
How did you first get into the industry?
After a long struggle working in the eCom circuit, I took the leap of faith to become a freelance photographer, and things naturally grew from there.
Where are you based now and who do you work for?
My studio is in Woolwich, London, but I work internationally. My client base includes Brands predominantly from the skincare, Makeup and Fragrance industry, including Dermalogica, Max Factor, Elemis, Pantene, Sally Hansen, Sephora, Tony & Guy, Olay, The Perfume Shop, and many other independent brands. I also shoot regularly for editorial clients like Hello! Beauty and Stylist Magazine.
What is your personal background and what role did it play in your career?
I guess I was always a creative, and was lucky to find my love for Photography pretty early on in my teens. At school, I really enjoyed Art, Music and Drama and continue to dabble in these as creative side projects, which I think is really important to keep things fresh and exciting. Recently, cataloguing my entire archive of work, I found loads of experimental self-portraits, which are all part of the learning process when you want to be a photographer.
Heading off to University to study gave me a great in-depth look at all kinds of work, which was so eye-opening, and the confidence to try and fail, until you succeed, which I hope to hold on to in all things in life.
I don’t think creativity needs to be linear; we think that we only have one job or goal, but really, being an artist is about getting ideas and trying new things, and maybe it will result in beautiful work, or maybe you will expand your practice into something entirely different.
If you weren’t in your current industry, what would you be doing?
I’ve given this a lot of thought in the last few years since Covid and the looming entry of AI. It’s so difficult to choose just one thing! I go through lots of phases, maybe an interior designer, or an architect, or even a music producer? As long as I’m creating, I feel like I have direction, which makes me feel calm and happy; surely that is the end goal.
Can you explain your creative process? What makes it unique?
Shooting for clients is so varied, and that’s what keeps it exciting. I get to work with lots of other brilliant Creatives, Art Directors, Camera Operators, Producers, Stylists, Set Designers, Makeup Artists, etc. The bigger the team, the bigger the buzz is on set. And when you’ve got a technically challenging setup, the rewards are so huge!
The process changes and is catered shoot by each shoot, but within a still life realm, we do have quite strict parameters, particularly if we are freezing movement or high speed video. The process tends to start quite loose, finding the angle and slowly building the light, before we lock everything down and meticulously capture layer by layer the ingredients for our final shot.
How would you describe your style?
Graphical and crisp with a bold tonality.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
Most Definitely! The storytelling of Fashion legends like Tim Walker, Nick Knight inspired me right at the beginning to create small worlds and start shooting models. The colourful, 3D world-bending set Design of Anna Lomax is a great example of fluidity in craft and creativity. Then my slow motion directing inspirations like Barry Makariou and Nori, who is also with my agency WiB, both using slow motion cameras in such unusual, exciting ways.
What tips would you give to aspiring creatives looking for work?
Don’t freak out. If you’re quiet, use your time to make new work and share it! Test out new teams and network with other creatives. The work will come naturally, and it may be slow at first, but if you’re passionate, organised and creative, you have the tools to succeed.
What tips would you give to other professionals to get more clients?
Work doesn’t come from the same direction. Having an agent is a bonus because they can help find new clients but most of the work needs to be done by you. I keep a list of people/brands I’d love to work with, and occasionally reach out to them personally on social media. Meeting new people is key, so just say yes to new social situations, and the work will come.
What kind of tools/kit/software could you not do without?
My kit list continues to grow with time, as does my investment in equipment and studio space. There's so much I use to create work and have it available for my client to see straight away; in the studio or a link so it can be viewed instantly anywhere in the world! I see it as a constant evolution to make more impressive work, and also to make my job easier so I can focus on the creativity and the client more on set.
What’s your secret to staying inspired and motivated?
Mixing things up! Going to see art, new places, trips to the seaside, live music, and trying new things. Everything is intertwined in our minds, and just leaving the house for 5 minutes can spark an idea or create a fresh slate in our minds.
What’s the work achievement you’re most proud of?
Seeing my work on the London Underground! Everyone dreams of seeing their work in the wild; I’ve had a taxi, a hot air balloon and worked in many stores, but the tube was hands down a very exciting moment.
As someone with experience in the industry, what trends do you foresee shaping the future of creativity?
The hot topic at the moment is AI, and I think this will have an effect on the industry and creativity as a whole. Hopefully, in a positive way, we are able to put our thoughts down and quickly have a visual representation. I think, however, our minds will get bored with this and in the long term, things like drawing, painting and physically creating art will become of greater value.
What do you think sets apart truly exceptional creatives from the rest of the pack?
Knowing your style. Staying true to your vision and taste. And developing that over time. Above all, persistence in creation and never giving up, but knowing when to take a break.
What is the one thing that you would change about the industry?
I would encourage visibility on rates and discussion of industry standard practices. Too much of this industry feels like it’s a secret, and when you start out, it’s difficult to find a mentor or someone who can advise on what to charge and where to begin.
Any websites, books or resources you would recommend?
As a decade-long user of Pinterest, I was recently recommended a new image research site which has such a cool vibe to it. https://www.are.na/
My Saved Video Inspiration Pages;
https://www.shortoftheweek.com/
If you wanted to learn a new skill, I would also check out https://www.skillshare.com/. I’ve been dabbling in some 3D Design on there, but they teach a whole host of creative practices, including Photography, Music, Film and Design.
