Sophie Parker, Director of Photo London, on collecting, photographic art and personal favorites
CAMERA WORK: Photo London has established itself as a key event in the international photography scene. What sets it apart from other fairs?
Sophie Parker: Photo London is truly reflective of its host city, offering something for all tastes and adapting to collectors’ evolving interests. We celebrate the full range of photographic practice – from the earliest experimental processes and vintage works to documentary and photojournalism, right through to cutting-edge contemporary pieces. Whether it’s a classic framed print, a sculptural installation, a sound-infused work, or something so experimental that you’d question, »Is this even a photograph?«, we embrace it all.
CW: The photography market is constantly evolving. How do you cultivate and support collectors through this and what advice do you have for first-time buyers at the fair?
SP: Since around 2019, we’ve placed a strong emphasis on educating both seasoned and new collectors. We leverage London’s vibrant contemporary art community to demonstrate how photography belongs in any fine art collection. We curate a mix of specialist photography
galleries alongside contemporary art dealers who work with photographers, encouraging cross-pollination of audiences. For newcomers, our Discovery section is a perfect starting point. Many exhibitors in Discovery produce limited-edition smaller prints – some priced as low as £100 – which makes collecting approachable. Throughout the fair you’ll find works under £5,000 if you simply ask galleries about entry-level pieces. Our VIP programming caters to established collectors with exclusive previews and events, while our public-facing initiatives – collecting courses, social media tips, and approachable signage – aim to demystify the fair. My main advice is always: buy what you love. Start with small works you’re excited about, display them on your walls immediately (framed if possible), and build relationships with galleries over time. As your confidence grows, so will your collection and your understanding of the medium.
CW:One of Photo London’s strengths is its balance between established and emerging artists. Have you noticed a trend in which group is being collected more?
SP: From the fair’s perspective, it’s very balanced. Collectors either invest in well-known names they recognize or champion emerging artists – especially those working in traditional, craft-driven processes. There’s no clear preference; both groups receive enthusiastic support. We’ve introduced a new Positions section within Discovery, featuring unrepresented artists supported by private collectors and curated by Maria Sukkar. This initiative highlights our commitment to both established and emerging talent. Importantly, collectors want assurance: they buy from galleries they trust, so our rigorous vetting and our advisory board’s involvement reassure buyers that their investments will be protected.
CW:Beyond acquisitions, Photo London offers an immersive experience through its public program, talks, and special exhibitions. How do these elements contribute to the fair’s mission?
SP: Education is at the heart of what we do. Each year we dedicate substantial space to special exhibitions. In 2025, we’re staging a major London Live exhibition across the entire public space, featuring 31 artists – both London-born and international artists who live and work here – documenting the city from the 1960s to brand-new works that haven’t even been made yet. Additionally, we present 21 talks over five days, plus year-round online events and a free digital magazine. These initiatives deepen engagement across our entire ecosystem – collectors, exhibitors, and the public – and underscore our commitment to celebrating photography as both art and cultural record.
CW:What types of collectors attend Photo London? Do prominent collectors also visit?
SP: Yes, prominent collectors definitely visit. We see a mix of specialist photography collectors and high-profile contemporary-art buyers. Our advisory board – composed of leading figures in the field – actively participates, not only by acquiring work but also by advising on programming, introducing galleries, and sharing Photo London with their networks.
CW: The decision to acquire art is often influenced by the tension between investment potential and aesthetic value. What has been your experience navigating this dynamic, and how do collectors typically approach this decision?
SP: Most collectors I speak with buy from the heart first. Photography has a unique power to evoke personal memories or emotions – whether it’s a scene from childhood or a moment in cultural history. That said, we do point out where there’s clear market momentum – like an upcoming institutional show – so collectors can feel both emotionally and financially confident in their choices.
CW: Which artists from CAMERA WORK are you most excited about to see at the fair? (Michel Comte, Olaf Heine, Chris Levine, Steve Schapiro, Christian Tagliavini, Ruud van Empel, Albert Watson, Dean West, David Yarrow)
SP: I’m looking forward to Steve Schapiro’s work – his iconic Muhammad Ali photos resonate deeply with me, since many in my family are boxing fans. And on the other end of the spectrum, Ruud van Empel’s work is wonderfully whimsical. Growing up in the countryside myself, those delicate white-stemmed flowers evoke childhood memories while also challenging the viewer to ask, »How was this made?«
Sophie Parker, Director of Photo London (© Matthew Benson)
CW: The fusion of different art forms in photographic art, such as Chris Levine’s work with light and Ruud van Empel’s digital artistry, is evolving in recent years. What is your perspective on this development?
SP: Photography has always been a medium of experimentation. Recently, however, many artists are revisiting traditional processes with fresh eyes: analogue techniques, cyanotypes, photogravure and other historic printed processes are enjoying a renaissance. There was a lot of hype around AI before the 2023 fair – people were asking »What’s next for photography?« – but we’re now seeing artists deeply invested in craft and hands-on creation. That said, we do exhibit digital and light-based works, and our audiences have proven receptive. We attract both photography purists and contemporary art collectors who appreciate screen-based installations and VR experiences. Some galleries are even blending CCTV-style flower films with analogue sensibilities. It’s an exciting time: digital and analogue approaches are informing each other in new ways and ultimately, it’s about the artist’s craft – whether that’s hands-on darkroom practice or immersive digital experiences, both excite our audiences.
CW: Finally, was there a book, podcast or exhibition that inspired you lately that you would like to share?
SP: Absolutely, I draw inspiration from so many different things. Podcast wise I love The Messy Truth by Gem Fletcher – she balances conversation with curators and artists you know, alongside lesser-known talents and her enthusiasm for photography is very infectious. On the exhibition front, Zanele Muholi at Tate, Peter Hujar at Raven Row (just closed), and the two shows at Hayward Gallery – Mickalene Thomas and Linder – have all been outstanding. As for reading, The Use of Photography (by Annie Ernaux and Marc Marie, Fitzcarraldo Editions) is great. It is a non-fiction piece but it almost reads like fiction. It is about the love affair of a couple and how they documented it and it reminds me how photography can be both deeply personal and universally resonant.
CW: That’s a wonderful selection. Any final thoughts you’d like to share?
SP: I’d love everyone – first-time visitors, seasoned collectors, art lovers – to feel welcome at Photo London. If you think a photo fair will be too narrow, come and see the astonishing range of work on display. Photography truly is for everyone.