Saskia Martin / From behind the lens

Harvest hills of golden wheat. A below-table tangle of bare legs and bib shorts. Helmeted heads silhouetted by shadow. Themes that feature regularly in Saskia Martin’s carefully observed and playful photography.

Having spent the past decade documenting her rides in and around London, commissioned projects have followed as Saskia combines her passion for the medium with the professional requirements of delivering a brief.

Interspersing a photo essay of recent work, Saskia frames this creative journey with references to her own riding, the visual language she employs in capturing a moment, and her innate love of telling stories.


This time last year I’d boxed up my bike before travelling to southern Spain. I’d lost my cycling mojo and decided the best place to find it again was riding the Badlands route with my friend Kat.

My mojo proved elusive on the dry, dusty trails so I guess I’m still working through a mid-bike crisis. But treating myself to a new mountain bike has proved motivational in terms of wanting to use it. My first time out, riding up a hill, I had this sudden moment of clarity—like I was sitting in a favourite armchair.


One of the hardest decisions I’ve ever had to make was leaving my role as Product Developer for Rapha after three and a half, happy years. As you can perhaps imagine, lots of tears.

I’ve left behind what feels like a family of colleagues but it just felt like it was time for a change. And as I’m now working for Apidura, cycling continues to play a huge part in my life.

We’re a fairly small team based in Camden and I just love it. There’s a real focus on functionality – solving design problems which is very much me – and as I ride to work each morning through the city streets I look forward to what each day brings.

Picking up the camera

My introduction to photography was through my iPhone. Taking pictures of friends out riding or at a coffee stop. It’s rather a cliché but I just love storytelling and this translates to certain rules I have when posting multiple images on social media. They have to be in chronological order and not every photograph necessarily needs to include someone on a bike. I get a kick out of portraying the little details that inform the bigger picture.

I’ve since upgraded to a mirrorless camera system as I transition into commissioned projects. It’s been quite a creative journey since my first ever photographic gig shooting my best friend’s wedding. I felt like I was getting married with the amount of stress I was feeling.


I love making a brand’s vision come alive and delight in the outcome of the process—that first pass through the images and the editing that follows. But then you also have the occasional crisis in confidence which, talking to established photographers, isn’t that uncommon. Looking back and thinking how you would change this or that.

I get a lot of inspiration from how the cinema portrays light and colour. And I’m instinctively drawn to what some might consider to be imperfect images—if there’s a blur or the composition isn’t classically two thirds. I have a penchant for capturing parts of people rather than a full head-to-toe shot. Hands are so expressive and my friends are now accustomed to me photographing their legs and feet.

I’m not one for grandiose statements but, to me, my pictures feel like curated art and artists always title their work. So I do carefully consider the words I use to accompany a post. I’m not particularly comfortable in front of the camera but I’m happy to be seen through my work. And maybe this combination of words and images can engage or even inspire for a moment?

All images with kind permission of Saskia Martin

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