“I love my studio. When I’m not shooting its great having a place to go a work. I used to work at home, but found it very lonely and was always keen to find a studio space. I jumped at the chance when a graphic designer friend of mine offered me a space in their studio. I share the space with 9 other people – graphic designers, a T shirt designer, a trend forecaster, another photographer and then two dogs.It’s a great space. The view from my desk is the bike rack, we seem to have lot more bikes than we do cyclists…”
Jo Metson Scott is a photographer who loves to take pictures of people and their surroundings. Predominantly a documentary and portrait photographer, her subjects have taken her around the world. Her work has been commissioned by groups such as The Photographers’ Gallery, Nottingham Castle Art Gallery, The New York Times, The Telegraph, i-D and Dazed and Confused.
It’s important the landscape works with the object we intend to build; one can not work with out the other.
FROM YOUR DESKS: How did the A ‘T’ Falls in the Woods project come about? It’s hauntingly beautiful. Where did you shoot it and what time of day?
JO METSON SCOTT: Nicola and I have been collaborating together for the last four-five years on a project we call ‘And Then’. We find a landscape that intrigues us and think up fantastical objects to build within the space. Like the dens you always imagined you were building when you were little except you only got as far as a blanket draped over two chairs in the back garden. Chris Martinez at
The New York Times had seen the project and asked us to build a
T in the same style which was great. It took us a day to build and we shot in as the sun was going down, we had checked out the location before, so knew when the light was going to be just right.
FYD: Your use of light is stunning; what draws you to landscapes? JMS: Thank you. We look forever for the right landscape. We often go out for a day and return not having found the ‘perfect setting’. It’s important the landscape works with the object we intend to build; one can not work with out the other. Finding the right spot is more time-consuming than building it. I can’t explain what draws me to a landscape, it changes every time, but the light is always important. The light in my pictures is everything.
FYD: Does living in London help you understand shades of grey and green better if you were living in say California?
JMS: Ha! It certainly makes me more appreciative of the light. I find I spend half my time in Britain looking up at the sky trying to work out if the sun is going to appear. I’ve never really thought about that before, I’m not sure.
“I love my studio. When I’m not shooting its great having a place to go a work. I used to work at home, but found it very lonely and was always keen to find a studio space. I jumped at the chance when a graphic designer friend of mine offered me a space in their studio. I share the space with 9 other people – graphic designers, a T shirt designer, a trend forecaster, another photographer and then two dogs.It’s a great space. The view from my desk is the bike rack, we seem to have lot more bikes than we do cyclists…”
FROM YOUR DESKS: How did the A ‘T’ Falls in the Woods project come about? It’s hauntingly beautiful. Where did you shoot it and what time of day?
FYD: Your use of light is stunning; what draws you to landscapes? 
