Last year, Julian Lennon surprised fans with an unexpected announcement. After releasing his album JUDE in 2022, containing some compositions started over three decades ago and embracing part of the symbolism of his childhood, the musician and philanthropist decided to share with the public, in an unprecedented way, another part of his life: the photography. The book Lifeās Fragile Moments was released in the second half of 2024 by the publisher TeNeues and quickly became number one in sales, with fans excited to have a sample of this side of Lennon at home.
Although this is his first photography book, Julian has an extensive experience as a photographer, with over 40 celebrated exhibitions worldwide. Currently, the exhibition 'Whispers Too' can be seen in Milan. Lennon is also not new to the world of book creation. He has released a collection of illustrated books supporting The White Feather Foundation's projects, focusing on the conservation of Earth; awareness beginning when it is most needed, during childhood.
However, a coffee table book with professional photographs seemed to be a new challenge, especially regarding the selection and editing of some of his most sensitive works; about this Julian believes that āHonestly it was most difficult deciding what to include (and what had to be cut) as well as the short window of time I had to work on it,ā and adds that āThankfully, I had a wonderful collaborator, Jan Haux, through the publisher TeNeues, who made the process a pleasure through and through.ā
āI had to decide what was important, what message I was delivering through the images, and what emotions could be taken away from it allā¦ Once that importance was placed, it became easierā¦ā. Evidently, his emphasis was on allowing such emotions to flow to those who would be exploring his book, which I considered, from my first of many readings, a mission accomplished with excellence.
Certainly, it was also for that reason that Julian chose not to be the focus of this collection. None of the photos in the book have him as the main subject; he only occasionally appears in a mirror reflection or interacting with some of his friends. āMy thought is that selfies arenāt nearly as interesting as the places and people Iāve photographed along the way,ā he tells me. Differently from many photography books in which the main message focuses on what the photographer felt while capturing a particular scenario and how it reflected in their work, Julian, on the other handāwhen completing his thoughts about his infrequent appearance in the book's pagesā affirms that āitās not a book about me.ā Julian bowed before the delicate moments in the lives of those who captured him.
One example of this was Lennon's visit to Ethiopia with Charity: Water. Through his camera, he registered the mutual benevolent impact he felt while he was there, āI actually named one of my favourite photos after what I felt from a specific child I photographedāāHopeā. Her reaction was not because our charities were there to help them gain access to clean water, but because her community had a positive outlook on life, despite their circumstances.ā
His works, although focused on personal journeys, also expand into some exclusive collaborations, as portrayed in the book. Unlike his own projects, those he was invited to participate in require a different level of care, which made me wonder about Julian's artistic and emotional freedom during them. āThose types of āassignmentsā (such as Charlene Wittstockās wedding or the Price of Desire film photography) are few and far between, but even in those scenarios, I do my best to find the most organic way to communicate what I see through the lensā, explains Lennon. āThe ultimate goal is to blend into the landscapeābe a fly on the wall, that the subject doesnāt remember if Iām there, and just goes on about whatever theyāre doing.ā
Not coincidentally, in response to one of my questions, Julian humorously corrected me, mentioning that he appeared in more photos than I had noticed and wished me good luck in the search. I promptly went back to inspect the photos and indeed found him like a little fly on the wall in more places than I had initially observed. Safe to say that, once again, his goal was achieved.
As a recent observer and fan, the publication of Lifeās Fragile Moments along with the various interviews on the project, reminded me of the photos Julian took during his childhood. To me, his passion for photography seemed to be something instinctive and waiting for its moment to blossom; Lennon says that āPerhapsā¦. I always loved the original SX-70 camera that Dad gave me as child (in fact, I still have it) and as an explorer at heart, even from that young age, I suppose the desire for photography was always in there somewhereā¦ā.
āBut what really interested me most,ā he continues, āwas the fact that with this camera, pre-Digital, I was able to see the images develop, within 5 minutes of taking the picture! Therefore, having instant gratification, as a photographer, which was not possible with Film, as suchā¦ And why Iāve spent my career trying to make Digital look like Film.ā Both his work with the exposure of lights and the aspects of colors mentioned are evident even to those who do not delve deeply into technical knowledge of photography, forming a striking and recognizable style in the 240 pages of his book.
Still pondering over his dive into his career as a photographer, unexpected for someone who seemed destined to dedicate his life to musicāas he starts by saying in his prefaceāI imagined there might have been some reluctance to alternate between the lyric sheets and photographic papers. Julian, in response to this thought of mine, shares with me that āI wouldnāt say āfightā necessarily, but I did have to be talked into doing my first exhibition, āTimelessā, by my dear friend and mentor, Timothy White. Heās the one who first suggested that I ādo somethingā with my photos after heād seen some edits Iād done to some of his photos of me (without permission, ha), and having looked together, through thousands of My photos.ā
āFrom the get-go, I wasnāt sure I was ready for a public showing, but he convinced me to give it a go, and here we are, now over 40 exhibitions and one book later....ā, and the public welcomed him with open arms.
Julian has mentioned a few times that songwriting is not something he finds relaxing all the time, often having the opposite effect. I questioned him, then, if the whole process he goes through with his photos helps him unwind or if, at times, it also causes him stress. āTruthfully, Both. Once edited, or finalised, I can then Breathe, knowing Iāve achieved yet another projectā¦ā, he confirms my suspicions. āThe pressure I put on myself to get an image ājust rightā in how I envision it in my mindās eye can indeed be stressful to finalise, like any āworkā, but I also very much enjoy the process. There is something meditative to the different stages of bringing a moment Iāve captured to life in a new way.ā
Among the various places depicted in the pages of Lifeās Fragile Moments, Lennon has his favorites to explore beyond what he was able to. āIt would be amazing to return to the places I first traveled on behalf of The White Feather Foundation, such as Colombia and Ethiopia, or other locales that I had a very limited time to see, such as Stockholm, where I performed on World Environment Day in 2022. I always love Japan, too, and feel like Iāve barely scratched the surface by way of photography there....ā, and being at the forefront of several projects involving the conservation of life on our planet, he adds: āBut Iād like to get around to seeing some Icebergs, before itās too late.ā
As for his expectations for his upcoming paths guided by photography, Julian comments on the near future and does not rule out the possibility of a new book. āI do have a few more exhibitions on the schedule, later in the year, and several major ones lined up for next year, so hopefully before too long, there will be an opportunity for a second photography book, and who knows what else might happen organically & out of the Blueā¦ā
And reinforces: āBut I would like to get back out on the road to see and photograph some new placesāAntarctica is top of mind, and if the opportunity presents itself, Iād like to go on a few more philanthropic trips for The White Feather Foundation to visit the sites where we have projects in progress. Stay tunedā¦.ā
There is no doubt that Julian will soon share more sensitive beauties with us.
If you haven't yet purchased the book Lifeās Fragile Moments, you can get it here.
You can also visit the virtual exhibition A Retrospective 'Whispers' on his website.
And you can learn more about The White Feather Foundationās projects, such as The Cynthia Lennon Scholarship for Girls - Join The Muse - clicking here.
Once again, I thank Julian Lennon and all his team for providing this fun and insightful interview to be posted here at The Official John & Yoko Forum - for all Citizens of Nutopia. We are all together!
Full interview:
You're already familiarized with the creation of books, having published childrenās books and a graphic novel for young adults on the conservation of Earth. What was the biggest challenge of editing and publishing the first photography book, which features sensitive moments that you lived and captured?
Honestly it was most difficult deciding what to include (and what had to be cut) as well as the short window of time I had to work on it. Thankfully, I had a wonderful collaborator, Jan Haux, through the publisher TeNeues, who made the process a pleasure through and through.
But the reality is, to actually answer your question, I had to decide what was important, what message I was delivering through the images, and what emotions could be taken away from it allā¦ Once that importance was placed, it became easierā¦
I remember seeing some photos that you took during your childhood for fun. Looking back now, do you think your passion for photography was waiting to be awakened at the proper moment, when you could transform it into a part of the beautiful work you do with The White Feather Foundation, for example?
Perhapsā¦. I always loved the original SX-70 camera that Dad gave me as child (in fact, I still have it) and as an explorer at heart, even from that young age, I suppose the desire for photography was always in there somewhereā¦. But what really interested me most, was the fact that with this camera, pre-Digital, I was able to see the images develop, within 5 minutes of taking the picture! Therefore, having instant gratification, as a photographer, which was not possible with Film, as suchā¦ And why Iāve spent my career trying to make Digital look like Film.
Was there any part of you that tried to fight a career in photography and keep it just as a hobby or did it all happen very easily and naturally with the help, love and encouragement coming from your friends?
I wouldnāt say āfightā necessarily, but I did have to be talked into doing my first exhibition, āTimelessā, by my dear friend and mentor, Timothy White. Heās the one who first suggested that I ādo somethingā with my photos after heād seen some edits Iād done to some of his photos of me (without permission, ha), and having looked together, through thousands of My photos.
From the get-go, I wasnāt sure I was ready for a public showing, but he convinced me to give it a go, and here we are, now over 40 exhibitions and one book laterā¦.
A couple of years ago - when you released JUDE - I asked you if songwriting was one of your ways to breathe, as a reference to the song from your album that has that title. You told me that the whole process of writing and recording a song can be actually very stressful to you. When it comes to editing your photos, do you feel the same or is it in fact one of your ways to decompress?
Truthfully, Both. Once edited, or finalised, I can then Breathe, knowing Iāve achieved yet another projectā¦
The pressure I put on myself to get an image ājust rightā in how I envision it in my mindās eye can indeed be stressful to finalise, like any āworkā, but I also very much enjoy the process. There is something meditative to the different stages of bringing a moment Iāve captured to life in a new way.
While enjoying your book I recognized your work as so intensely authentic that even when you're invited to do a photoshoot for specific projects it feels as if you just happened to be there with your camera. Do you feel freedom working even when you are guided to photograph a certain way or a certain scenario?
Those types of āassignmentsā (such as Charlene Wittstockās wedding or the Price of Desire film photography) are few and far between, but even in those scenarios, I do my best to find the most organic way to communicate what I see through the lens.
The ultimate goal is to blend into the landscapeābe a fly on the wall, that the subject doesnāt remember if Iām there, and just goes on about whatever theyāre doing.
During the live signing of your book, I asked you what city you would like to photograph that you haven't yet. You said all cities that you haven't yet visited. In the book, though, you mentioned some of the places you'd like to go back to. If you could catch the first flight right now, where would you go back to and what would you expect to find and photograph there?
It would be amazing to return to the places I first traveled on behalf of The White Feather Foundation, such as Colombia and Ethiopia, or other locales that I had a very limited time to see, such as Stockholm, where I performed on World Environment Day in 2022. I always love Japan, too, and feel like Iāve barely scratched the surface by way of photography thereā¦.
But Iād like to get around to seeing some Icebergs, before itās too late.
From the photos you took in Ethiopia what I felt was that your camera was the eyes of the world Ethiopians wished were directed to them with more kindness, love and respect. What did you feel coming from them when they realized you were there to get to know about their lives and photograph everything?
I actually named one of my favourite photos after what I felt from a specific child I photographedāāHopeā.
Her reaction was not because our charities were there to help them gain access to clean water, but because her community had a positive outlook on life, despite their circumstances.
We only see you in one photo inside the book - besides your reflection in the cover photo. Was it a conscious decision not to include photos that you were in or you just don't take as many pictures of yourself?
My thought is that selfies arenāt nearly as interesting as the places and people Iāve photographed along the way, and itās not a book about me, butā¦ There are more than 2 pictures of me in the Bookā¦ Good luck!
After over 40 exhibitions around the world and now a book, where do you think photography will lead you to next?
I do have a few more exhibitions on the schedule, later in the year, and several major ones lined up for next year, so hopefully before too long, there will be an opportunity for a second photography book, and who knows what else might happen organically & out of the Blueā¦
But I would like to get back out on the road to see and photograph some new placesāAntarctica is top of mind, and if the opportunity presents itself, Iād like to go on a few more philanthropic trips for The White Feather Foundation to visit the sites where we have projects in progress. Stay tunedā¦.
Although this is his first photography book, Julian has an extensive experience as a photographer, with over 40 celebrated exhibitions worldwide. Currently, the exhibition 'Whispers Too' can be seen in Milan. Lennon is also not new to the world of book creation. He has released a collection of illustrated books supporting The White Feather Foundation's projects, focusing on the conservation of Earth; awareness beginning when it is most needed, during childhood.
However, a coffee table book with professional photographs seemed to be a new challenge, especially regarding the selection and editing of some of his most sensitive works; about this Julian believes that āHonestly it was most difficult deciding what to include (and what had to be cut) as well as the short window of time I had to work on it,ā and adds that āThankfully, I had a wonderful collaborator, Jan Haux, through the publisher TeNeues, who made the process a pleasure through and through.ā
āI had to decide what was important, what message I was delivering through the images, and what emotions could be taken away from it allā¦ Once that importance was placed, it became easierā¦ā. Evidently, his emphasis was on allowing such emotions to flow to those who would be exploring his book, which I considered, from my first of many readings, a mission accomplished with excellence.
Certainly, it was also for that reason that Julian chose not to be the focus of this collection. None of the photos in the book have him as the main subject; he only occasionally appears in a mirror reflection or interacting with some of his friends. āMy thought is that selfies arenāt nearly as interesting as the places and people Iāve photographed along the way,ā he tells me. Differently from many photography books in which the main message focuses on what the photographer felt while capturing a particular scenario and how it reflected in their work, Julian, on the other handāwhen completing his thoughts about his infrequent appearance in the book's pagesā affirms that āitās not a book about me.ā Julian bowed before the delicate moments in the lives of those who captured him.
One example of this was Lennon's visit to Ethiopia with Charity: Water. Through his camera, he registered the mutual benevolent impact he felt while he was there, āI actually named one of my favourite photos after what I felt from a specific child I photographedāāHopeā. Her reaction was not because our charities were there to help them gain access to clean water, but because her community had a positive outlook on life, despite their circumstances.ā
His works, although focused on personal journeys, also expand into some exclusive collaborations, as portrayed in the book. Unlike his own projects, those he was invited to participate in require a different level of care, which made me wonder about Julian's artistic and emotional freedom during them. āThose types of āassignmentsā (such as Charlene Wittstockās wedding or the Price of Desire film photography) are few and far between, but even in those scenarios, I do my best to find the most organic way to communicate what I see through the lensā, explains Lennon. āThe ultimate goal is to blend into the landscapeābe a fly on the wall, that the subject doesnāt remember if Iām there, and just goes on about whatever theyāre doing.ā
Not coincidentally, in response to one of my questions, Julian humorously corrected me, mentioning that he appeared in more photos than I had noticed and wished me good luck in the search. I promptly went back to inspect the photos and indeed found him like a little fly on the wall in more places than I had initially observed. Safe to say that, once again, his goal was achieved.
As a recent observer and fan, the publication of Lifeās Fragile Moments along with the various interviews on the project, reminded me of the photos Julian took during his childhood. To me, his passion for photography seemed to be something instinctive and waiting for its moment to blossom; Lennon says that āPerhapsā¦. I always loved the original SX-70 camera that Dad gave me as child (in fact, I still have it) and as an explorer at heart, even from that young age, I suppose the desire for photography was always in there somewhereā¦ā.
āBut what really interested me most,ā he continues, āwas the fact that with this camera, pre-Digital, I was able to see the images develop, within 5 minutes of taking the picture! Therefore, having instant gratification, as a photographer, which was not possible with Film, as suchā¦ And why Iāve spent my career trying to make Digital look like Film.ā Both his work with the exposure of lights and the aspects of colors mentioned are evident even to those who do not delve deeply into technical knowledge of photography, forming a striking and recognizable style in the 240 pages of his book.
Still pondering over his dive into his career as a photographer, unexpected for someone who seemed destined to dedicate his life to musicāas he starts by saying in his prefaceāI imagined there might have been some reluctance to alternate between the lyric sheets and photographic papers. Julian, in response to this thought of mine, shares with me that āI wouldnāt say āfightā necessarily, but I did have to be talked into doing my first exhibition, āTimelessā, by my dear friend and mentor, Timothy White. Heās the one who first suggested that I ādo somethingā with my photos after heād seen some edits Iād done to some of his photos of me (without permission, ha), and having looked together, through thousands of My photos.ā
āFrom the get-go, I wasnāt sure I was ready for a public showing, but he convinced me to give it a go, and here we are, now over 40 exhibitions and one book later....ā, and the public welcomed him with open arms.
Julian has mentioned a few times that songwriting is not something he finds relaxing all the time, often having the opposite effect. I questioned him, then, if the whole process he goes through with his photos helps him unwind or if, at times, it also causes him stress. āTruthfully, Both. Once edited, or finalised, I can then Breathe, knowing Iāve achieved yet another projectā¦ā, he confirms my suspicions. āThe pressure I put on myself to get an image ājust rightā in how I envision it in my mindās eye can indeed be stressful to finalise, like any āworkā, but I also very much enjoy the process. There is something meditative to the different stages of bringing a moment Iāve captured to life in a new way.ā
Among the various places depicted in the pages of Lifeās Fragile Moments, Lennon has his favorites to explore beyond what he was able to. āIt would be amazing to return to the places I first traveled on behalf of The White Feather Foundation, such as Colombia and Ethiopia, or other locales that I had a very limited time to see, such as Stockholm, where I performed on World Environment Day in 2022. I always love Japan, too, and feel like Iāve barely scratched the surface by way of photography there....ā, and being at the forefront of several projects involving the conservation of life on our planet, he adds: āBut Iād like to get around to seeing some Icebergs, before itās too late.ā
As for his expectations for his upcoming paths guided by photography, Julian comments on the near future and does not rule out the possibility of a new book. āI do have a few more exhibitions on the schedule, later in the year, and several major ones lined up for next year, so hopefully before too long, there will be an opportunity for a second photography book, and who knows what else might happen organically & out of the Blueā¦ā
And reinforces: āBut I would like to get back out on the road to see and photograph some new placesāAntarctica is top of mind, and if the opportunity presents itself, Iād like to go on a few more philanthropic trips for The White Feather Foundation to visit the sites where we have projects in progress. Stay tunedā¦.ā
There is no doubt that Julian will soon share more sensitive beauties with us.
If you haven't yet purchased the book Lifeās Fragile Moments, you can get it here.
You can also visit the virtual exhibition A Retrospective 'Whispers' on his website.
And you can learn more about The White Feather Foundationās projects, such as The Cynthia Lennon Scholarship for Girls - Join The Muse - clicking here.
Once again, I thank Julian Lennon and all his team for providing this fun and insightful interview to be posted here at The Official John & Yoko Forum - for all Citizens of Nutopia. We are all together!
Full interview:
You're already familiarized with the creation of books, having published childrenās books and a graphic novel for young adults on the conservation of Earth. What was the biggest challenge of editing and publishing the first photography book, which features sensitive moments that you lived and captured?
Honestly it was most difficult deciding what to include (and what had to be cut) as well as the short window of time I had to work on it. Thankfully, I had a wonderful collaborator, Jan Haux, through the publisher TeNeues, who made the process a pleasure through and through.
But the reality is, to actually answer your question, I had to decide what was important, what message I was delivering through the images, and what emotions could be taken away from it allā¦ Once that importance was placed, it became easierā¦
I remember seeing some photos that you took during your childhood for fun. Looking back now, do you think your passion for photography was waiting to be awakened at the proper moment, when you could transform it into a part of the beautiful work you do with The White Feather Foundation, for example?
Perhapsā¦. I always loved the original SX-70 camera that Dad gave me as child (in fact, I still have it) and as an explorer at heart, even from that young age, I suppose the desire for photography was always in there somewhereā¦. But what really interested me most, was the fact that with this camera, pre-Digital, I was able to see the images develop, within 5 minutes of taking the picture! Therefore, having instant gratification, as a photographer, which was not possible with Film, as suchā¦ And why Iāve spent my career trying to make Digital look like Film.
Was there any part of you that tried to fight a career in photography and keep it just as a hobby or did it all happen very easily and naturally with the help, love and encouragement coming from your friends?
I wouldnāt say āfightā necessarily, but I did have to be talked into doing my first exhibition, āTimelessā, by my dear friend and mentor, Timothy White. Heās the one who first suggested that I ādo somethingā with my photos after heād seen some edits Iād done to some of his photos of me (without permission, ha), and having looked together, through thousands of My photos.
From the get-go, I wasnāt sure I was ready for a public showing, but he convinced me to give it a go, and here we are, now over 40 exhibitions and one book laterā¦.
A couple of years ago - when you released JUDE - I asked you if songwriting was one of your ways to breathe, as a reference to the song from your album that has that title. You told me that the whole process of writing and recording a song can be actually very stressful to you. When it comes to editing your photos, do you feel the same or is it in fact one of your ways to decompress?
Truthfully, Both. Once edited, or finalised, I can then Breathe, knowing Iāve achieved yet another projectā¦
The pressure I put on myself to get an image ājust rightā in how I envision it in my mindās eye can indeed be stressful to finalise, like any āworkā, but I also very much enjoy the process. There is something meditative to the different stages of bringing a moment Iāve captured to life in a new way.
While enjoying your book I recognized your work as so intensely authentic that even when you're invited to do a photoshoot for specific projects it feels as if you just happened to be there with your camera. Do you feel freedom working even when you are guided to photograph a certain way or a certain scenario?
Those types of āassignmentsā (such as Charlene Wittstockās wedding or the Price of Desire film photography) are few and far between, but even in those scenarios, I do my best to find the most organic way to communicate what I see through the lens.
The ultimate goal is to blend into the landscapeābe a fly on the wall, that the subject doesnāt remember if Iām there, and just goes on about whatever theyāre doing.
During the live signing of your book, I asked you what city you would like to photograph that you haven't yet. You said all cities that you haven't yet visited. In the book, though, you mentioned some of the places you'd like to go back to. If you could catch the first flight right now, where would you go back to and what would you expect to find and photograph there?
It would be amazing to return to the places I first traveled on behalf of The White Feather Foundation, such as Colombia and Ethiopia, or other locales that I had a very limited time to see, such as Stockholm, where I performed on World Environment Day in 2022. I always love Japan, too, and feel like Iāve barely scratched the surface by way of photography thereā¦.
But Iād like to get around to seeing some Icebergs, before itās too late.
From the photos you took in Ethiopia what I felt was that your camera was the eyes of the world Ethiopians wished were directed to them with more kindness, love and respect. What did you feel coming from them when they realized you were there to get to know about their lives and photograph everything?
I actually named one of my favourite photos after what I felt from a specific child I photographedāāHopeā.
Her reaction was not because our charities were there to help them gain access to clean water, but because her community had a positive outlook on life, despite their circumstances.
We only see you in one photo inside the book - besides your reflection in the cover photo. Was it a conscious decision not to include photos that you were in or you just don't take as many pictures of yourself?
My thought is that selfies arenāt nearly as interesting as the places and people Iāve photographed along the way, and itās not a book about me, butā¦ There are more than 2 pictures of me in the Bookā¦ Good luck!
After over 40 exhibitions around the world and now a book, where do you think photography will lead you to next?
I do have a few more exhibitions on the schedule, later in the year, and several major ones lined up for next year, so hopefully before too long, there will be an opportunity for a second photography book, and who knows what else might happen organically & out of the Blueā¦
But I would like to get back out on the road to see and photograph some new placesāAntarctica is top of mind, and if the opportunity presents itself, Iād like to go on a few more philanthropic trips for The White Feather Foundation to visit the sites where we have projects in progress. Stay tunedā¦.
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Jules is amazing really, in so many ways!
