Interview
A. Radical expression, intuitively sought and intentionally captured. I describe it as painting with light at the wild edges, those liminal spaces where earth, sea and sky collide and the known gives way to the unknown. I am drawn to liminal spaces – threshold moments at dawn, beneath the surface of the water, on cliff edges or under the night sky, when the world feels fragile and infinite. I create space for stories to unfold naturally, trusting in the alchemy of the moment, because that’s where real magic lives. The result is imagery that carries weight beyond the aesthetic; it ignites curiosity, awe and enchantment, and in doing so, Q. How would you describe your photographic style?
invites people to remember what they already know but have been too busy to hear. That we are nature, as part of nature. Q. How did you get your start? A. My first proper encounter with a camera came through my first job, developing 35mm film at a newsagents. Something about that process captivated me completely. I think I spent everything I earned on getting negatives processed. I studied human geography and later marine protected areas at postgraduate level, so sensing the connections between people, place and planet has always been part of how I see the world. Photography became the bridge between the emotion and the intellect. It moved from something I did alongside other work into the centre of my life gradually – and then all at once. I started shooting weddings in 2010, went full time in 2014, then lifestyle and branding work began to organically grow from there. In 2020 I made a deliberate decision to focus entirely on purpose-led brands, organisations and leaders. The work that asks something of both of us. My late-in-life AuDHD diagnosis explains so much! The cellular-level fizz that I feel when hyperfocus and special interests are in full flow. The insatiable curiosity, sensing things before they’ve even fully happened. Photography gives me a way to move through the world with all of that, and to process moments that feel almost too immense to hold. It still does. Q. What drew you to Fujifilm? A. Curiosity, as with most things. In 2021, wanting to explore underwater photography, I picked up a second- hand FUJIFILM X-T2 with the FUJINON XF16mmF2.8 R WR and a waterproof housing. My first images came from Walpole Bay Tidal Pool and I was instantly hooked. That series went on to sell more prints than anything I’d produced up to that point, and I remember thinking, why am I still lugging heavy DSLRs around? The FUJIFILM X-T5 came next. I started building a lens collection and made the full switch in summer 2024. I haven’t looked back. What keeps me goes deeper than the initial discovery. Fujifilm cameras feel like an extension of how I experience the world: the tactile nature of the controls, the way colours render with that extraordinary tonal depth in sea and sky. There’s an authenticity to a Fujifilm image that aligns completely with how I work. I am the antithesis of formulaic, and Fujifilm has never felt formulaic.
Rebecca Douglas
A wedding photographer 15 years ago, Rebecca now
Photographer, filmmaker, speaker, writer and more besides, Rebecca Douglas’ imagery seeks to rewild our connection to nature. Website: rebeccadouglas.co.uk Instagram: @rebeccadouglas photography
focuses on work that reminds us of our connection with nature
16 FUJIFILM Focus Magazine
March/April 2026
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