Other images return to the aesthetic he honed at the start of his career. White began by photographing musician friends on tour, most often in darkened rooms; too dark to shoot at the speed he wanted. “Or something would happen so quickly I couldn’t adjust the settings to get it right,” he says. Consequently, the images were often blurred and out of focus. “[It was these] I liked the most because they spoke more about the moment than a perfectly composed image ever could. Over time I guess it became part of my ‘style’. But, when I started doing more editorial and commercial work, this became more and more diluted.”
For a few months, White did not touch a camera; the space to think and reflect forced on him by Covid-19 resulted in him rethinking his work completely. “It’s a weird one because I’ve never wanted to get out and shoot more, but I’ve never felt so trapped and unable to do so,” he says. White will now focus more on documentary image-making, leaving London to explore stories and communities beyond the city. In a sense, he has broken apart his practice in a moment of creative renewal; dissecting his relationship to the medium in a manner that reflects the fragmented, yet beautiful, images that compose Wabi Sabi.