What do you do in an average day?

I’ll be briefed on projects by the beauty and features departments. As a team we discuss what visuals we will need for projects they are working on. I’ll then do online research, or research in our own archives. For online research I would go to art picture agencies, or shoot agencies.

How did you get into picture editing?

I studied Journalism at university in Australia and knew I wanted to do something in the media, but writing wasn’t my thing, so I did a major in photography for my degree. When I came to London, picture editing seemed like the perfect way to marry my interests.

I did lots of work experience; most people at Vogue have done work experience to get to where they are and for me it was good luck too – I was in the right place at the right time. My first job with Condé Nast was at Tatler; I was on the picture desk for two and a half years and from there I went to Vogue.

What is your favourite aspect of your job?

Definitely working with the Condé Nast archives. British Vogue is nearly 100 years old and it’s such a unique resource. All the major photographers over that period have shot for Vogue at one time or another. Every day I’m dealing with original photographs by anyone from Helmut Newton to Irving Penn.

Tell us about a memorable project you’ve worked on…

I did a feature a couple of years ago where I asked lots of photographers, stylists and editors about a single image that inspires them. Hearing David Bailey, for example, say who inspired him was incredible. We are bombarded with images daily but it was great to see the single pictures behind some of the world’s leading image-makers.

It was a real hunt to track down every single shot. People say things like “I saw this image, about 10 years ago…” and you’re thinking, please give me more info! It can be frustrating, but when you find the right picture it’s incredibly rewarding and satisfying.

What do you look for when commissioning a photographer?

There’s very much a British Vogue style – it’s very classic with a slight quirkiness. Tim Walker is a very British Vogue photographer. Last year there was a shoot featuring no small amount of cleaning products – I remember thinking only we could get away with it.

How has post-production changed the industry?

When I work in the archive, it’s unbelievable to see the perfection of the photography before post-production. To achieve that standard, the lighting would have taken a long time to set up, whereas now a lot of it can be done in post.

Who are your favourite photographers at the moment?

Franco Rubartelli, Jeanloup Sieff, John Rawlings and Martin Munkacsi. Newer photographers include Mikael Jansson, Javier Vallhonrat and Tom Craig.

If you’re a photographer, check out the IdeasTap Photographic Award and the Magnum Professional Practice bursary.