Where other portraits appear flat, the subjects of photographer Ahmed Hassan float off the surface like characters in a surrealist painting. A stalwart within the world of fashion editorials, the London-based photographer has created a timeless aesthetic that conflates maximalist compositions with intimate snapshots of friends and celebrities he renders to create luminous and sometimes ghostly images.

His client list includes Valentino and Schiaparelli, ELLE UK and The Telegraph, as well as notable figures, such as Manchester United’s Mason Mount to British author Jay Shetty. “I loved the idea of creating a world beyond reality,” Hassan tells Hypeart, adding that his “execution slowly grew closer towards that realm” after some trial and error.

The ability to capture his subjects with such intimacy comes easy for Hassan, who’s been behind the camera since age 19. He also is well-versed with all the added variables that are needed on set to create the final image — from styling to hair, makeup and setting up the photos backdrops. There is clearly something uncanny to the veneer in which Hassan manipulates image — effects the photographer believes brings out the real “truth” in his subjects.

For the first Through the Lens of 2024, Hypeart caught up with Hassan to discuss his processes behind the camera, the eeriness that pervades his work and his advice for the next generation of budding photographers.

“I find more intrigue in peculiarity rather than perfection…”

Your work is bold, magnified, graphic. How did this technique begin?

Experimentation. Any creative genesis I had was fuelled solely by ideas. I loved the idea of creating a world beyond reality so using some trial and error, my execution slowly grew closer towards that realm.

In your own words, how would you define your practice?

It’s all consuming and a blend of thoughtful preparation and just doing. A lot of organizing my thoughts and ideas and executing them as soon as I can.

Going back to your roots, what inspirations, movements, periods and figures do you think had the biggest impact on you as a person and working professional?

I find direct references too limiting so like many others, my inspirations are a mishmash of design, architecture, art, cinema, and literature. But to be more specific—surrealism, particularly fantastic realism. The movement’s influence inspired me to infuse the extraordinary within the ordinary, and manipulate the realm of imagination. I find more intrigue in peculiarity rather than perfection and so I try to incorporate it as much as I can, even when the creative is out of my hands.

Your client list is extensive: from Tatler to Prada, Sony Music to Hublot. What has been the most fulfilling project(s) for you?

I would say the personal work I’ve done with friends. These projects often have a synergy that is electric and the dynamic of the creative process is always one that is filled with genuine warmth. That authentic connection and mutual encouragement you get from working with friends creates such an uplifting environment, which makes those projects memorable and gratifying to be part of.

How do you juggle client work and passion projects? Is there a divide between the two for you or are they one and the same?

I would consider myself fortunate enough that my job allows me to seamlessly blend my work and passion projects. When taking on a commission I always look at the options and try to strike a balance on projects that allow me enough creative freedom that it almost feels like a passion project at the same time. While this isn’t always the case, I’d venture to say that, it’s a balance I’m constantly pursuing.

You have a penchant for portraiture…why so and do you dabble in other forms of photographic expression?

Why? There’s a lot more focus on depth, clarity and detail in portraiture which personally I find is the ideal canvas for storytelling. Of course your breadth and scope is more limited but it also means the moods and feeling you can convey are more potent. While I always shoot people, sometimes the commissions and collaborations I work on require me to hero a product or texture or shape so the narrative is to tell that story and the product becomes the portrait.

“Never stop learning.”

There is an eeriness that pervades your photographs. Are there underlying messages or themes that you aim to impart?

I think that probably comes from trying to create a world that’s beyond reality. I like to transcend limits and play with light, depth, gravity, and surrealist undertones. The result I would say is naturally eerie and unsettling because it’s an attempt to ascend past reality.

What is the greatest piece of advice you received in your coming of age?

General life: Never stop learning.

My work: Focus on something small to tell a larger story.

Now what is your advice for the budding photographer out there?

Take on the projects that daunt you, as more often than not, it’s a case of imposter syndrome and you’re a lot more capable than you think you are.

As 2024 just kicked off, what are some projects you’d like to speak about in the months ahead?

I can be quite superstitious about announcing anything before it’s actually happened, but I’m really looking forward to pursuing a lot more motion work in addition to just stills.

All photos courtesy of Ahmed Hassan for Hypeart.