Recognised for his quiet, analytical approach, neutral colour palette and strong, incisive black-and-white work, Julian Anderson started his photographic career in the early 1990's on magazines such as Time Out, Campaign and the Times Educational Supplement. Throughout the 1990s he built a broader range of clients (The Royal Academy, Blueprint, The Sunday Telegraph, Conde Nast Traveller, The Observer and The Independent Magazine) and alongside his regular portraiture for The Guardian Weekend magazine, for several years photographed a monthly column with the-then Guardian Food Editor Mathew Fort.
During this period, Julian also started to work with design groups and worked with Pentagram partner John Rushworth on a long-term branding project with the Savoy Group. His continuing relationship with Pentagram has included collaborations for Hewlett Packard, Liberty, the Italian luxury hotel group, Romeo, global business consultancy, Capco and more recently venture capitalists, Index Ventures.
In the late 1990s, Julian was asked to photograph the construction process of Norman Foster's Millennium Bridge. This body of work was widely editorialized, exhibited and subsequently published in the book ‘Blade of Light’ by Deyan Sudjic (Penguin, 2002).
Other major projects include the restoration of Nicholas Hawksmoor's Christchurch (2003/4), Kevin Spacey's first season as artistic director at The Old Vic Theatre (2004/5) and the restoration of the Connaught Hotel (2005-7). Meanwhile, Julian’s recently acquired portrait of the late Motorhead frontman Lemmy became his 27th piece of work to be included in the National Portrait Gallery’s permanent collection of photography.
Since 2010 Julian has focused on longer-term projects and is currently photographer-in–residence at Max Fordham, visually collating their architectural engineering projects, and photographing the restoration of London’s former UN HQ building, 10 Trinity Square, for leading global property developers, Reignwood. Julian has an ongoing relationship with the ethical Venture Capitalists, Index Ventures, for whom he has so far travelled to New York, Los Angeles, San Francisco, Jerusalem and Geneva and in 2014 he began documenting the building of the luxury Kaplankaya development in Turkey, for Capital Partners.
Alongside commercial work, Julian Anderson photographs and regularly exhibits his personal projects, many of which are inspired by the area around the East Sussex coast where he lives with his family.
Caroline Metcalfe, Director of Photography, Conde Nast Traveller Magazine
I have worked with Julian for over 20 years, firstly commissioning portraits at The Independent Magazine, then publishing his Millennium Bridge project at the Financial Times 'The Business' Magazine and latterly on a range of shoots from portraits, to reportage at The Dorchester to travelogues in London, the UK and overseas. Throughout this period I have never had a time when I wasn't convinced that Julian would deliver a sensitive, thoughtful and provocative body of work. I think his spirit and demeanour pervades his work, it is always creatively considered and with a strong emotional connection to his subjects.
John Rushworth, Pentagram
What I always look for in photographers, over and above their 'eye', is someone who is not only easy to work with, but also adds value, looking for solutions that I might not have seen. Julian has worked with me in this way on a series of projects over the last twenty years, most recently for clients as diverse as Hewlett Packard, the department store Liberty, luxury Neopolitan hotel Romeo and venture capitalists Index Ventures.
Simon Esterson, Esterson Associates
Julian works in the classic way: not simply imposing a style but taking photographs through real observation and reportage.
Malcolm Reading, Chairman, Malcolm Reading Consultants
I first met Julian when we commissioned him to record the construction of the Millennium Bridge, Julian turned this into an extraordinary testimony to the people who designed, built and simply watched the bridge going up. For us it was a perfect match to the social and regenerative objectives of the project. Following this, I asked Julian to photograph the work at Christchurch, Spitalfields, the iconic church designed by Nicholas Hawksmoor. The project restored the church to its original 1725 design, stripping away the Victorian rebuilding. I was very keen to capture the techniques and trades-people who worked on the project as a sort of silent witness to the passage of three centuries of craft and architecture. Julian executed both of these projects superbly, far exceeding the confines of the brief we set him. His relaxed, rather laid-back style masks a pin-sharp, probing approach to his subjects. He also has a great grasp of how two or three years of images will work together as a visual essay at the end of a project. His work is full of human scale. In contrast to many photographers who work in this field, Julian seems fascinated by those who are involved in making new architecture. Most of his photographs have people doing things to buildings - it is the process that seems to inspire him as well as the object, and the recording of projects over time where he excels. He has the stamina to turn up at seemingly tranquil moments on site and find a defining image of critical importance to the sequence of construction.