While it might seem obvious, it was the contacts she made along the way that proved instrumental to her progression. So “you can’t be so serious all the time,” she says. “People need to want to have you around.” Crucially, Allen-Storey has made a habit out of building relationships with people that run far deeper than commerce or professionalism; it’s through this that she’s excelled in her personal documentary projects – because she knows who can set her up in the right locations, with the right people – which, in turn, has helped her to land more NGO commissions in the arenas she’s passionate about.
“You always have to have a personal project,” she says. “Something you care deeply about that you’re committed to developing. And it might take you one year or three years or ten years to do it — but start where you have access, in your own neighbourhood, and then you grow from there.” For example, while at Central Saint Martins, Allen-Storey developed an intimate body of work around her husband’s cardiovascular health problems; after graduating, she was compelled by her loss of a friend to HIV/AIDS to turn her camera to the global epidemic. She maintains that one has to start with the immediately personal for that passion and authenticity to shine through.
Crucially, she notes that when you are documenting communities beyond your own, you are there to listen and learn, and you’re doing so on nobody’s terms but your subjects’. “I’m not a snapper,” Allen-Storey says. “Before my camera comes out, I’m sitting down with my subjects, explaining why I’m there, how much I appreciate their collaboration, what the purpose of the photo essay is. I’m letting them know that if I ever ask a question that makes them uncomfortable, they don’t answer it; anytime they’re unsure about a photo I’m taking, the camera will come down. It is always a collaboration.” It all comes down to a commitment to telling the truth, she says: to listening to the facts, and the lived experience of people on the ground, and portraying them accurately.
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