Alison McCauley, based in Cannes and Geneva, is a photographer exploring identity, belonging, and memory through non-linear, highly atmospheric images. Her projects—ranging from Anywhere But Here to Another Cannes and Shimmers—blend abstraction, emotion, and geographical dislocation to evoke a moody state of mind more than a place. She's part of the UP Photographers collective.
Artistic Vision & Visual Approach
McCauley’s imagery often registers as dreamlike and elusive rather than documentary. She seeks to express a feeling of perpetual transition—physical and emotional—through blurred references, obscured details, and layered symbolism:
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Anywhere But Here (2008–present) emerged from a nomadic life, expressing dislocation and restlessness through intentionally blurred, hazy visuals.
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Another Cannes (2013–2018) offers an offbeat portrayal of the Cannes Film Festival—documenting the unseen through surreal, everyday moments in contrast with red-carpet glamour.
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Shimmers (2013–2023) captures the Côte d’Azur’s shimmering surfaces and shadowed undercurrents—an “eyes wide open” love letter to the French Riviera that balances beauty with ambiguity.
Camera Gear & Creative Tools
Gear Evolution & the Fujifilm X‑T5
McCauley is known for embracing tools that subtly inform mood and gesture. Recently, she added the Fujifilm X‑T5 to her toolkit:
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The X-T5 serves as her primary digital camera for various projects, preferred for its compact yet ergonomic build, user-friendly dials, and discreet presence that aligns well with her sensitive visual approach .
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She often pairs it with lightweight Fujinon primes (like 18mm, 30mm macro, 56mm f/1.2), finding the combination ideal for intuitive, low-light, or handheld shooting—echoing her earlier analog habits.
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| Fujifilm X-T5 see it on Amazon |
What She Also Uses
McCauley engages with a playful, experimental toolkit rather than a fixed setup:
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She used a Fuji X100 for street-style shooting thanks to its compact feel and fast response.
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| Fujifilm X100 see it on Amazon |
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When needing more flexibility, she employed the Canon G12—valued for its swivel LCD that facilitates low-angle compositions, despite being relatively slow.
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| Canon G12 see it on Amazon |
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For projects demanding higher image quality, she turned to a Nikon D700 with a 35mm lens, reserving this option for when fidelity mattered most.
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| Nikon D700 |
Why Those Cameras Work for Her
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Fuji X100: discreet and intuitive for spontaneous, street-derived compositions.
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Canon G12: helpful for creative framing, especially at low angles or on-the-move contexts.
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Nikon D700 + 35mm: allows for sharper, cleaner images when she wants clarity, particularly in her more documentary work.
Techniques & Visual Effects
McCauley’s aesthetic is shaped less by gear and more by creative process and willingness to experiment:
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She frequently applies effects such as double exposures, long exposures, flash, camera movement, lens obfuscation, condensation on glass, scan misalignments, and more for painterly or dreamlike results. Some effects are analog or accidental in-camera, others digital manipulations—there’s an intentional blur between mediums.
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She occasionally uses Polaroid, water and condensation textures, or reflections to visually dislocate reality from perception.
Her approach is concept-free, instinctive—inviting imperfection as a way to convey mood, memory, and emotional ambivalence.
The Work: Memory, Dislocation & Mood
Alison McCauley’s photography challenges standard narrative in favor of emotionally rich, impressionistic sequences. Whether wandering Cannes, capturing festival crowds, or reflecting on the French Riviera's tension between surface and underside, her work suggests a state rather than describing a scene.
Her projects are published as tactile, hand-bound photobooks—like Anywhere But Here, Another Cannes, and Shimmers—often made in small editions to preserve intimacy and personal resonance.
Her work can be seen on her website : https://amccauleyphotography.com/
Final Thoughts
Alison McCauley’s practice is a testament to how creativity can flourish through experimentation, emotional sincerity, and modest tools. Whether she’s wielding a Fuji X100, a Canon G12, or a Nikon D700, her work is defined by what she does with light, blur, and form—not by the gear itself.