Image: Glassette for Rory Langdon-Down
Image: Rory Langdon-Down
Home and Interiors
How to start your photography collection with Rory Langdon-Down
03.02.2026
Fresh from exhibiting at the National Portrait Gallery, photographer Rory Langdon-Down launches an exclusive series of small, limited-edition prints with Glassette. Captured between 2018 and 2025 across locations including New York, Miami, Sri Lanka and the UK, this intimate body of work offers an accessible entry point into collecting photography, without compromising on craft or intention.
In our interview, Rory reflects on where he is in his practice now, the significance of working in limited editions, and why these cinematic, joy-filled moments are designed to live in people’s homes. Read on to discover the stories behind the images, his approach to shooting on film, and his advice for anyone starting their photography collection.
Interview with Rory
You’re launching a new collection of small, limited edition prints exclusively with Glassette. How does this body of work reflect where you are in your practice now, compared to a few years ago?
This work is not a grand departure from my previous works as my style remains consistent, but I wanted to make a more affordable and accessible selection that celebrates some of my archive that I’ve not shown before. The last few years I have reached some great milestones in my career that I’ve long been working to achieve. Particularly two portraits I’m incredibly proud of exhibited at the National Portrait Gallery and being a winner of Portrait of Britain in 2025 and again in 2026. Where I’m at now feels like a significant part of my career, so these new prints are a way to mark that and reinforce the connection I have with people who my photography resonates with.
This collection has been created as an accessible entry point into collecting photography. Why was it important to you to offer smaller prints and limited editions at this moment in your career?
I think smaller prints are a brilliant asset to any home or space either being paired with other art or sitting on their own as a point of interest and discussion and some of my favourite pieces are small prints. We have a small 6”Elliot Erwit print of a Snoopy float at the New York Macy’s Day Parade on a wall in my daughter’s room and we look at it all the time. Making work limited edition is very important to me as it preserves the meaning of the work without diluting it in endless print runs and the finite nature of editions means that you are investing in an artist’s career which feels special and further connects you to the piece of work.
The works span locations from New York and Miami to Sri Lanka, Spain and the UK, shot between 2018 and 2025. When you look at them together now, what do they represent for you - creatively or personally?
My work always features people interacting with their surroundings and I often view my photos as paused scenes from a film where there is some action or movement at play. Joy and warmth are the two main themes that tie these pieces together and those are two things I really try to maintain in my approach to making work as well as the work itself.
For someone buying one of your photographs as their first ever art purchase, what do you hope the experience feels like when it arrives and is hung at home?
I love how prints feel, so I hope the first experience will be feeling the texture of the paper which is a heavy, warm pearlescent paper that absorbs the ink in a way that softens the image very subtly. I hope the photograph will be something you immediately want to study and spot different things in and that it evokes some sort of reaction, even if that’s just that it’s nice to look at. The hand drawn edition number and signature will represent the individuality of the piece and the analogue nature of my process.
Do you tend to work more with film or digital - and what cameras do you find yourself returning to most? Do you choose different formats depending on the place, subject or mood you’re capturing?
Medium format film is my go-to and all ten of these photos were shot on film. I use a Mamiya RB67 which is a beast of a camera more typically used in the 80s for fashion or commercial photography. I love it for the fact it’s fully manual and slow to use which means my photos are captured incredibly patiently and deliberately and there aren’t multiples of each scene, they are singular moments.
Your work has been exhibited at the National Portrait Gallery and the Saatchi Gallery, yet this collection is designed to live in people’s homes. Does that shift the way you think about your photographs, or who you’re making them for?
Unlike some of my exhibited work, such as the portraits at the NPG which were prepared setups, these photos are much more instinctual and represent my authentic style when I shoot more loosely. I love photographing people so whether a portrait or a wide exterior scene the seed of what I enjoy is always there - capturing realness and people as their true selves.
If someone starts with one print from this Glassette collection and finds themselves wanting to build a photography collection over time, what advice would you give them?
Find an artist you really like first. Someone with a body of work that you identify with or an approach you admire so you’ll enjoy any piece of theirs that you own as the artist’s own style progresses and their career develops. This way you will grow to love the pieces you own more over time. Secondly, for photographic prints, I would always recommend buying limited edition and signed prints to maintain individuality and exclusivity as your collection develops. That way you’re more likely to still have those pieces on your wall in decades to come proving the investment you made worthwhile.
Finally, if someone discovers your work for the first time through this collection, what do you hope they understand - both about your photography and about collecting photography more broadly?
I hope people will see that photographic prints belong on your walls. They can sit alongside other art mediums and become an interesting talking point in a home and long gone are the days of canvas-printed Ikea photographs of yellow New York cabs and red London buses. For anyone discovering my work for the first time, I hope that this collection is light through a crack in the door that leads to connecting with more of my archive and an interest in where my photography is heading, of which they’re now a part of.
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