“It informs my fashion work, because it helps me understand myself; who I am, what I stand for, and what I want to shoot,” she says. “And that’s when you start to get hired for you, and what you do, as opposed to just being hired because someone needs a photographer to do a job.” Leese’s self-published works have served as catalysts for many clients to commission her to create similar work. “Like with Yumi and the Moon,” she explains, “it was very much about the body, and I got a lot of lingerie and beauty assignments. It really does tie in.” It was a bonus, in the end, that Boys of Hong Kong and Yumi and the Moon sold out and made a profit (Me + Mine – still on sale – is a non-profit title, with proceeds split between Black Trans Femmes in the Arts, Trans Law Centre and the Rape and Sexual Abuse Support Centre).
While the initial investment can be costly, as Leese notes, it’s entirely dependent on the design, production materials and how many you print; in this sense, it is arguably safer to start with a zine, as she did, and work up to a book. “People made zines super cheaply back in the day, and those had a huge impact,” Leese says. “So you can work within a budget.”
The photographer freely admits that she had “no idea” what she was doing when she set out to publish Boys of Hong Kong back in 2018. The photobook process is gradually becoming de-mystified (particularly by Self Publish Be Happy, who run a wealth of educational workshops, alongside resources from the likes of British Journal of Photography and Photo District News). But for Leese, the main solution was enlisting more experienced creatives. “I knew I needed some kind of designer or art director to guide me through,” she says. “Someone who loved the project, wanted to help it get made, and had done it before.” Lauren Faye of CLO Studio came on board as art director of Boys of Hong Kong, and Bruce Usher as designer. Fast forward, and Leese’s most recent publication, Me + Mine, has been a collaboration with Dazed designer Eva Nazarova.
“When I start coming to the end of shooting a project, I start to research and ask around my contacts for a designer who could be right for it,” Leese explains. “Then once they’re on board, everything is a collaboration, from the layout, to the paper that we use, everything.” The photographer will always have an idea in her mind of how she sees the finished book looking before she approaches her collaborators, but hopes to find people who can bring something extra to the table. “With Me + Mine, I knew I wanted to work with a woman,” she says. “Someone younger, someone who I could get creative with. Jamie Reid [art director of Dazed] said I should hit up Eva, and we really got on. She loved the project. It was an instant ‘yes’.”