Toyin's ability to capture raw emotion and the beauty of youth in her photos enable the viewer to read a story without words, almost as if you are reading the dairy entries of her subjects. She one day hopes to publish a book of her life's work entitled 'The Cult of Boys'. Toyin has enough material to make 10 books. Her bedroom where she always shoots, in the family home she grew up in, is filled with photos from the past 10 years and beyond, and the overflow is housed in crates in the garage. Toyin's work captures another aspect of the male form, a graceful softer image that plays with androgyny, redefining what male beauty is. Toyin has shot campaigns for McQ and Edwin, is a long-time contributor to Dazed & Confused and has also contributed to Show Studio, Dazed Japan, The Telegraph, Jalouse, Crash and 10.

How long have you been working as a photographer?
I have been taking photographs since October 1997.

Where are you based?
I am London based, which is a pain in the ass! Post code NW6 somewhere in Willesden, but to be cool I could say Queens Park. I am the original local not all like all these fashionistas trying to impose themselves on my postcode! Just kidding. Or am I? You would never catch me moving east where all you dumb asses insist on living! Just kidding...

What is your nationality?
British by birth, Nigerian by nature which means that I like to order people around, "Ben (Toyins's previous assistant) where's my tea!!!" or "Can you help me change the channel" even if I'm two feet in front of it...

How old are you?
I am a young 35 and don't look a day over 20.

How would you describe your work?
What lies beneath - not just a pretty face. Raw, honest to a point, and maybe a slight hint of voyeurism and untapped sexuality, it's all in the eyes.

What inspires you?
I am very aware of movies and have been inspired by films like The Ice Storm, Cement Garden, Dazed and Confused. Anything that has a bit of a 70's vibe. Everybody knows I like long hair on the male species. But I love it when a girl or boy comes to see me and they have a personality and are gutsy and have a slight rock 'n' roll edge as if they just rolled out of bed. I am a big fan of Bill Henson, his work takes me to a hauntingly dark, beautiful place.

You tend to shoot a lot of your work in the same location do you think this has shaped your aesthetic?
It's not a secret that I shoot at home; its cheaper than a studio. I can't stand having to paint the walls a different colour every time, it's so boring. I like the light that I get from my bedroom window which is what sometimes gives my work it's signature. I think it also comes from who I choose to shoot.

What is it you look for in your subjects?
My choice of model is personal and a lot of the faces that I loved so much don't exist that much in the industry these days. My choice of face seems to be embedded in me. If you were to ask me what I look for it's quite simple - a Daniel Tighe or a Dominic Brider.

Do you socialise with any of your proteges outside of shooting?
I hang out with Dan a lot as he has become a really close friend and I treasure him and his family. I miss Dominic so much as he really was my muse for so long and I miss how I used to have heart to heart chats about lots of things, but I know I shall see him at some point, he's just very hard to get hold of.

You seem to be as very private person, is this why you are so selective about what you do?
I wouldn't say I was that private a person. I just prefer one on one's, as I don't do to well with crowds. Plus everybody lives in East London and I don't.

Do you plan to exhibit your whole catalogue of work one day?
I do intend to do something at some point in my life I just don't know when.

Do you have any new collaborations lined up?
I do have things lined up, but not for a while and they don't involve fashion clients. It's for some music bods that are waiting for me to do some new music video projects.

What are your feelings towards the increase and normality of shooting digital and the technological revolution?
My only problem with technology is that they are trying to take away your choice and nothing beats holding your negatives. A digital file can be lost but a negative is forever. In the long run they will regret trying to phase film out, but it I will never totally be lost because there will always be a demand. Or am I being a bit clueless?

Below you can see a music video Toyin made for New Zealand based folk-pop artist Paul McLaney.
The video features two of Toyin's friends, the model Johnny Black and the artist Merlin Glozier. It was shot in September 2003, over three days in Toyin and Merlin's houses.