AGATA PEC
PHOTOGRAPHER
ABOUT AGATA PEC
I'm Agata Pec, a London-based product, still life and editorial photographer.
The beginnings.
I originally wanted to become a cinematographer. Photography was supposed to be my way into moving image, but somewhere along the way I fell in love with the process of making photographs.
I grew up in Poland and studied photography before moving to London, where I wanted to build a life in a creative environment. I arrived with very little and found my first photography-related job within a week, working in a Snappy Snaps shop in South Kensington.
It wasn't exactly the glamorous beginning I'd imagined.
I spent my days working in the shop and, just before closing, sweeping the floor. Every evening I would think that this was temporary. One day I would make it in London as a photographer.
I was right.
Since then, I've built a career working with brands, creative and advertising agencies, magazines, artists and galleries. My work includes product, still life, beauty, drinks, food, art glass, ceramics and editorial photography.
I like difficult problems
Some of my favourite photographs have come from briefs that weren't fully formed or subjects that were particularly difficult to photograph.
One example was the No7 Future Renew campaign. I was given a relatively open brief: create a futuristic feeling that suggested years of laboratory research without making the imagery look too scientific. I designed a structure made from laboratory glassware for the products to sit on, creating a clean, minimal setting that allowed the products to remain the focus.
My experience photographing glass became part of the solution.
Earlier in my career, I was given a chest of drawers made entirely from mirrors to photograph. I remember thinking that if I could photograph that without unwanted reflections, I'd probably be able to photograph almost anything.
That attitude has stayed with me.
I enjoy working out how something can be photographed rather than simply applying the same solution every time.
Still learning
I don't want my photography to become fixed.
Visual language changes. Technology changes. Clients change. The way people consume images changes. I want to keep learning, experimenting and developing my skills rather than repeating the same visual formula simply because it worked once.
For me, consistency isn't about making every photograph look the same. It's about bringing the same level of thought, care and technical attention to every project.
And after all these years, I still love the moment when everything comes together: the lighting, composition, colour and idea finding their balance.
That's when I look at the image and think:
Yes. That's right.
HOW I WORK
When I work with artists, particularly those I'm photographing with for the first time, I often say: It's not about me or my vision. It's about your work and how you want to show it.
That's also how I approach commercial photography.
It's not about my vision. It's about yours.
I don't expect you to arrive with a perfect brief or know exactly how you want something photographed.
You might have a fully developed creative concept. You might have a moodboard and a few loose ideas. Or you might simply know that you want something to feel a certain way but have no idea how to achieve it.
All of those are good places to start.
I listen first.
Before thinking about cameras, lighting or sets, I want to understand what you're trying to communicate.
What needs to stand out?
Who is the image for?
What do you want people to notice?
What do you want them to feel?
I pay attention to what people tell me, ask questions and take the time to understand the project. I don't believe that my job is to make every shoot look like my previous work.
The subject and the brief should lead the way.
I solve the problem.
Once I understand what we're trying to achieve, I work out how to get there.
That might mean finding a way to photograph a highly reflective bottle, making transparent glass look right, building a set, simplifying a composition or finding a completely different approach to a familiar subject.
I enjoy this part of photography enormously.
For me, a shoot isn't an opportunity to impose my personality on the work. It's a problem to solve.
I give things time.
I work best when there's enough time to stop, look and think. Lighting, styling and composition often need small adjustments before everything falls into place. I don't like rushing through setups simply to get them done.
Sometimes the difference between a good photograph and the right photograph is a small change that you only notice when you take a moment to look properly.
You can ask questions.
I want people to feel comfortable telling me what they really think. If something doesn't feel right, we'll talk about it. If you have a strange idea, tell me. If you don't understand something technical, ask.
I've worked with established brands and agencies as well as artists at the beginning of their careers, and I approach every project with the same level of care and respect.
You don't have to know exactly how to photograph it. That's what I'm here for.
