Photography

Photography is where my production work lives, and it runs along two axes that feed each other. In the studio I assemble dedicated teams — artists, models, stylists, MUA — and run editorial shoots from concept to final file. On a long-running commission with Age UK I put ordinary people at ease in front of the camera and turn hundreds of images into the stories that actually get published. One is built, one is caught, but both are the same discipline: direct people, curate hard, and deliver layout-ready.

Editorial photography & art direction

Working directly with artists, models, stylists, MUA and independent clients to build dedicated teams for editorial shoots — then running the whole thing, from concept to final file.

That means shoot planning (moodboards, concept development, location scouting, studio booking, equipment hire, call sheets, shot lists), robust hands-on studio work (lighting setups, tethered shooting, model direction, set coordination), and high-detail natural and stylistic retouching done without filters or automation — so the original concept is realised, plus the supplemental material that comes out of improvisation on the day.

What I did

• Built and coordinated dedicated shoot teams: artists, models, stylists, MUA
• Full shoot planning: concept, locations, studios, equipment, call sheets, shot lists
• Hands-on studio shooting: lighting, tethering, model direction
• High-detail retouching and post-production without filters or automation
• Full creative control from concept through to final delivery

Photography & art direction — independent / self-initiated editorial clients.

Age UK — storytelling for Get Together magazine

Three years collecting individuals’ stories and refining them visually for Age UK’s Get Together magazine — coordinating with producers, designers, journalists and the service users themselves to organise and execute every shoot.

The core of the job was human: working with and directing ordinary people to put them at ease in front of the camera, and capturing the candid moments that actually fit the story being told. From there — hundreds of images per issue, filtered and curated down to key images including covers, fully edited for colour consistency, and delivered layout-ready.

What I did

• Coordinated producers, designers, journalists and service users to plan and execute shoots
• Directed ordinary people in front of the camera for genuine, candid moments
• Curated hundreds of images per issue into key selections including covers; edited for colour consistency; delivered layout-ready sets
• Maintained the visual language across articles and issues spanning several years
• Planned and improvised in available environments for light, space and aesthetics
• Developed enough understanding of brand and editorial taste to get rapid approval and eliminate reshoots
• Maintained a vast image catalogue archive for later bespoke comms — postcards, flyers, direct mailers

Photography — Age UK, Get Together magazine.

One practice, two settings

Both bodies of work are the same skill set pointed in different directions. In the studio I plan everything and then improvise within it; on the Age UK commission I improvise first and then plan the curation. In both I direct people who aren’t photographers, protect a visual language across hundreds of images, and hand the client layout-ready sets they can use straight away. The archive that comes out of the magazine work feeds back into the studio side — a catalogue I can pull from for bespoke comms, from postcards to direct mailers.

Taken together, the studio and the magazine work are one continuous photography practice — the concept built in the studio and the candid moment caught in the field, both running to the same standard: direct, curate, and deliver.