A Commercial photography commission for Transport for the North

I recently completed another commission for Transport for the North, focusing on the intersection of modern transportation infrastructure and sustainable mobility. The shoot took place in and around Warrington Bank Quay station on a cold, wintry day, providing a striking backdrop for capturing both railway and electric vehicle infrastructure.

As a professional photographer, I approached this project with the goal of documenting the full spectrum of travel and mobility, from railway tracks and station platforms to electric vehicle charging points and urban transport hubs. The result is a series of images that highlight how modern infrastructure supports people on the move, whether by train, car, or bicycle.

Photographing Railway Infrastructure at Warrington Bank Quay

Warrington Bank Quay station offered the perfect environment for railway photography. I captured expansive shots of the tracks, including the overhead equipment, signalling systems, and the intricate details of railway infrastructure. The wintry weather added texture and atmosphere, enhancing both wide-angle shots and detailed close-ups.

One of the highlights of the shoot was documenting people on station platforms. Photographing commuters and travellers in motion allowed me to combine the technical aspects of railway infrastructure with the human stories that give these spaces life. The balance between people and machinery emphasizes the dynamic nature of modern rail travel and creates compelling visual narratives for photography portfolios.

Capturing Electric Vehicle Charging and Sustainable Mobility

A significant focus of the commission was electric vehicle infrastructure. I photographed people charging electric cars in a variety of settings, including outdoor charging points and inside a multi-storey car park. Capturing the signage for charging points, as well as the interaction between people and technology, helped highlight the practical and user-focused aspects of sustainable transport.

In addition to electric cars, I documented cyclists and people recharging electric vehicles, emphasizing the broader picture of environmentally conscious travel. These images illustrate how modern transport networks accommodate multiple modes of mobility, from trains to electric vehicles and bicycles, making them highly relevant for transport-focused photography projects.

Integrating Aviation and Urban Context

While the primary focus was rail and electric vehicle infrastructure, the location provided opportunities for capturing more of the surrounding transport ecosystem. I managed to include a couple of aeroplanes in the sky above Warrington, adding an extra dimension to the story of regional connectivity. Including air travel alongside rail and electric vehicle transport underscores the diversity and interconnectedness of modern transport systems, making these images particularly valuable for photography clients and portfolios.

Photography Approach and Techniques

Shooting in a cold, wintery environment posed certain challenges, but it also created striking visual contrasts and textures. I used natural light and ambient conditions to enhance the atmosphere, emphasizing the industrial aesthetic of railway tracks and the clean design of electric vehicle charging stations. Photographing people interacting with infrastructure—whether boarding trains, using charging points, or cycling—added scale and narrative to the images, making them more engaging for viewers and highly relevant for SEO-focused content about photography.

Every aspect of the shoot was designed to highlight not only the functionality of transport infrastructure but also the human experience. This approach ensures that the photographs are versatile, suitable for commercial, editorial, or promotional use, while maintaining a strong visual impact for photography portfolios.

Why This Commission Matters for Photography

Documenting modern transport infrastructure is a compelling subject for professional photographers. From capturing the engineering details of railway systems to the interaction between people and electric vehicle technology, these projects provide a rich variety of visual opportunities. This commission demonstrates how photography can tell the story of regional transport development, sustainability initiatives, and human engagement, all while producing images that are visually striking and technically precise.

For photographers looking to expand their portfolios, projects like this are invaluable. They allow exploration of urban environments, transportation networks, and technological innovation, all while practicing composition, timing, and storytelling.

Commercial photography for Transport for the North

I recently completed a comprehensive series of images for long-standing client Transport for the North, documenting railway stations across the North of England. As a professional photographer, I am proud to contribute to their efforts to demonstrate to the government the region’s growing need for well-planned and efficient transport infrastructure. This project combines technical photography with human-focused storytelling, highlighting how people navigate the North’s key transport hubs.

Photographing Major Railway Stations Across the North

This commission took me inside several of the North’s most important railway stations, including Manchester Piccadilly, York, Liverpool Lime Street, and Newcastle station. Manchester Piccadilly was a central focus, allowing me to capture the flow of commuters, the architecture of the station, and the dynamic interaction between people and the transport environment.

Newcastle station provided a similarly engaging setting, with opportunities to document both the movement of travelers and the details of railway infrastructure. York and Liverpool Lime Street added variety to the series, each station presenting unique architectural features, passenger dynamics, and lighting conditions that make railway photography particularly rewarding.

Capturing Multi-Modal Travel: People and Bicycles

A key element of this series was documenting people using bicycles inside the stations. Capturing sustainable and multi-modal transport is increasingly important in photography that highlights modern infrastructure. These images not only show the integration of cycling with rail travel but also reflect how people interact with station environments in their daily journeys. Photographing people in motion, whether walking, cycling, or navigating platforms, added context and life to the technical aspects of the stations.

Photography Approach and Techniques

Shooting inside busy railway stations requires a combination of careful planning and adaptability. I focused on using natural light wherever possible, capturing wide shots of station interiors alongside detailed close-ups of commuters, signage, and architectural features. Documenting both the human experience and the technical infrastructure allowed me to create a balanced series that is visually compelling while accurately reflecting the function and design of each station.

The challenge of busy environments, fast-moving people, and varying lighting conditions made this project particularly rewarding. By combining architectural photography with candid street-style portraits, the series demonstrates how professional photography can tell a story about transport systems, infrastructure, and human mobility.

Why This Project Matters for Transport and Photography

This commission for Transport for the North is part of a broader effort to communicate the urgency of transport investment in the North. My images serve as visual evidence of the challenges and opportunities facing the region, from crowded platforms to the integration of cycling and rail travel.

For photographers, projects like this are an excellent way to develop a diverse portfolio, combining urban photography, architectural documentation, and lifestyle imagery. The resulting images are relevant not only for editorial and commercial purposes but also for advocacy, policy, and storytelling around sustainable transport infrastructure.

Conclusion: A Visual Record of the North’s Transport Hubs

Documenting railway stations across the North of England allows both the public and policymakers to see how infrastructure supports daily life. This series highlights Manchester Piccadilly, Newcastle, York, and Liverpool Lime Street as vibrant hubs of movement, showing people, bicycles, and the architecture that supports regional travel. As a professional photographer, I am proud to contribute to projects that combine aesthetic storytelling with practical insight into the North’s transport systems.

Documentary Photography - BP's LiDAR buoy at Liverpool Docks

Another commission from BP as they work on the development of the Mona and Morgan Irish Sea wind farms. This time I was taking photographs to document the maintenance of one of their Fugro Seawatch LiDAR buoys which are surveying the field to find optimal wind turbine locations. The Seawatch buoys run on solar panels and fuel cells using methanol fuel. Although autonomous in the field the buoys need to be towed to shore for refueling and servicing.

As an ex-engineer with a background in Physics, this was a really interesting - if freezing! - few days shooting in Liverpool.

LiDAR, or Light Detection and Ranging, can measure wind speed by using the Doppler effect. The Doppler effect is a phenomenon that occurs when the frequency of a wave changes as the source of the wave moves relative to the observer. This effect is commonly experienced in everyday life, for example, the change in pitch of a siren as an ambulance approaches and then passes by.

In the context of LiDAR, a laser beam is directed towards the atmosphere, and the reflected light is detected by a sensor. As the laser beam passes through the atmosphere, it interacts with particles in the air, such as dust or water droplets. These particles scatter the laser beam in different directions, and some of the scattered light returns to the sensor.

By analyzing the scattered light, LiDAR can detect the movement of air particles and calculate wind speed. The movement of the particles changes the frequency of the scattered light, and this change in frequency is detected by the sensor. The amount of frequency shift is proportional to the wind speed, allowing LiDAR to calculate the wind speed with high accuracy.

LiDAR can also provide information about the direction and turbulence of the wind, helping to identify potential challenges for wind turbine installations. This information is particularly useful in the development of wind farms, where accurate wind measurements are essential for identifying the most suitable locations for wind turbines.

Event Photography - Adidas and Versus at Manchester United

VERSUS is the platform championing the future of football and its rising influence on new music and culture. Adidas is well, Adidas. On commission for the wonderful TO Events, I photographed the launch of a collaboration between the two brands on the occasion of a games between Manchester United and Aston Villa’s women’s teams.

Photography of BP's public consultation at Bodelwyddan

I worked with BP to photograph a consultation event at Bodelwyddan Village Hall that helped explain to residents of the area the changes that would be brought about by the development of two new wind farms off the North Wales coast. The Mona and Morgan windfarms will be two of the largest offshore windfarms in the Irish Sea.

The wind farms will be located approximately 20km - 30km from the coast and be operational by 2029. Together, they will form one of the largest wind farms in the world, with a combined potential generating capacity of 3 gigawatts (GW). This is enough to power the equivalent of approximately 3.4 million UK households with clean electricity.

The development of the Mona and Morgan windfarms represents a significant achievement in the UK's transition towards renewable energy, and highlights the potential of offshore wind to play a key role in meeting the country's energy needs in a sustainable way.

Suzanne Lacy at Whitworth Art Gallery

Event Photography: Suzanne Lacy – What Kind of City? A Manual for Social Change | The Whitworth, Manchester

I had the privilege of working with The Whitworth to photograph the opening of What Kind of City? A Manual for Social Change, the first major UK presentation of works by US artist Suzanne Lacy, a pioneer of socially engaged practice and community organising for nearly five decades.

The exhibition brings together multiple projects from Lacy’s extensive career, highlighting her commitment to using art as a tool for social change. Across her work, Lacy has consistently explored issues such as youth engagement, gender equity, social cohesion, and civic participation. What Kind of City? continues this focus by presenting works that encourage dialogue and collective action around the structures, challenges, and opportunities that shape urban life.

Photographing the Exhibition Opening and Artist’s Talk

Documenting exhibition openings requires capturing the atmosphere of the event, the artist in conversation, and audience engagement with the works. At the Suzanne Lacy opening, I photographed Lacy interacting with attendees, leading discussions during her artist’s talk, and engaging with curators and participants.

Event photography in this context provides a record that serves multiple purposes. Images are used for press coverage, marketing, social media, and archival documentation while conveying the essence of the exhibition: its ideas, engagement, and impact on the public.

Situating What Kind of City? in Suzanne Lacy’s Oeuvre

Suzanne Lacy has spent decades exploring the intersection of art, activism, and social practice. From her early performances in the 1970s addressing gender and public space, to large-scale public interventions in the 1990s and 2000s, her work consistently involves collaboration with communities, creating participatory experiences that address societal issues directly.

What Kind of City? reflects this legacy by focusing on pressing themes including youth agency, borders, social cohesion, and opportunities for older women. The exhibition frames these issues through Lacy’s lens of engagement and empowerment, presenting her work as both artistic practice and a guide for social action. Photography captures this interplay between artwork, artist, and audience, showing the exhibition not just as a collection of objects but as an active space of dialogue and reflection.

The Whitworth’s Role in Community Engagement

The Whitworth has long been committed to socially engaged programming and public participation. By presenting Suzanne Lacy’s work, the institution positions itself as a space where art intersects with civic dialogue.

Documenting the exhibition opening and artist’s talk demonstrates the Whitworth’s dedication to fostering connections between artists, communities, and audiences. Professional photography captures the human dimension of the event, reflecting both the ideas of the exhibition and the engagement of participants.

Why Professional Photography Matters for Exhibitions

High-quality photography is essential for institutions to communicate the significance of exhibitions. Images capture the artworks themselves, audience responses, and the environment in which these interactions take place. For socially engaged work like Lacy’s, photography is particularly important, as it records collaborative, performative, and participatory elements that might otherwise exist only in the moment.

Photographs from What Kind of City? provide a visual record for press, marketing, social media, and archives while highlighting the ways in which art can inspire dialogue and social action. By documenting both the artist and the audience, photography demonstrates the exhibition’s reach and impact.

Capturing the Dialogue Between Art and Community

What Kind of City? is designed to operate as a manual for equitable transformation. Photographing the opening involved documenting Lacy’s talk, audience interactions, and the curatorial context of the exhibition. These images show how art can facilitate civic engagement, prompt discussion, and provide insight into the challenges and opportunities facing urban communities.

Through careful observation and composition, the photographs preserve the exhibition’s central idea: that art can be a catalyst for dialogue, reflection, and action, situating Lacy’s practice as both relevant and influential within contemporary socially engaged art.

Conclusion

Thanks again to The Whitworth for inviting me to document this important exhibition. Photographing What Kind of City? A Manual for Social Change offered an opportunity to capture Suzanne Lacy’s longstanding commitment to social practice while highlighting the interaction between her work, the audience, and the wider community. The images serve as a professional record of an exhibition that exemplifies the power of art to foster dialogue, participation, and meaningful social engagement.

Langfields

Langfields Process Plant Fabrication Photography | Manchester Industrial Photography

I recently visited Langfields, specialist fabricators of process plant equipment for the pharmaceutical, chemical, offshore, oil and gas, marine, defence, and nuclear industries. Based just one mile from Deansgate in Manchester, Langfields demonstrates that advanced manufacturing continues to play an important role in the city’s economy and industrial heritage.

As a former engineer, visiting facilities like Langfields is particularly rewarding. Photographing industrial operations captures both the technical processes and the human skill involved in producing high-specification equipment.

Advanced Industrial Fabrication at Langfields

Langfields transforms large 18mm aluminium plates into complex, water-jacketed vessels, following precise specifications required by some of the most demanding industries in the world. Within a compact production space, the plates are cut, bent, and welded with exceptional precision, showing the combination of craftsmanship and engineering expertise required for modern process plant fabrication.

The process highlights both the machinery and the skilled fabricators who operate it, demonstrating the scale, precision, and professionalism of high-tech industrial fabrication.

Precision Engineering for Pharmaceutical and Chemical Industries

The vessels and plant components produced at Langfields are used in critical applications across pharmaceutical production, chemical processing, offshore energy, nuclear technology, and other high-spec industries. Photography captures the company’s technical capabilities, quality standards, and expertise.

Every stage of fabrication, from cutting and bending to welding and finishing, reflects the attention to detail and precision engineering that underpin Langfields’ operations. These processes illustrate the combination of modern technology and human skill required to meet exacting industry standards.

Manchester’s Post-Industrial Manufacturing Scene

Langfields’ location near the centre of Manchester highlights the ongoing relevance of manufacturing in a post-industrial city. Facilities like this provide skilled technical employment while maintaining advanced production capabilities that support a wide range of industries. Capturing these processes visually helps tell the story of a city that continues to innovate and manufacture complex equipment.

Documenting Industrial Expertise and Human Skill

Visiting Langfields provides an opportunity to record the intersection of engineering excellence, technical innovation, and human skill. From raw aluminium plates to fully fabricated vessels, the facility offers a rich visual narrative of high-tech industrial processes. The images reflect both the technical and human dimensions of manufacturing, illustrating the expertise and care involved in producing equipment for demanding industries.

What Media

What Media help brands engage with clients by producing creative video and animation content.

They asked me to photograph their team at their new location in central Manchester. As always when working with this team, the shoot was full of positive energy and went by in a flash.

Luneside for U+I

It was a real pleasure to work for Just H architects again, this time on their latest project for developers U+I.

Photographing their Luneside student accommodation a few weeks ago was helped along by some gorgeous unseasonal weather and the presence of the beautiful River Lune.

You can find Just H at just-h-architects.co.uk

and more about U+I can be found at uandiplc.com

50 Windows of Creativity. An assignment for Wild in Art

Seashell Trust & Lauren Mullarkey Location: The Atrium, Library Walk (mixed media installation)

This autumn, Manchester is hosting 50 Windows of Creativity, a showcase of the work of artists and makers displayed in a series of windows, venues, businesses and spaces across the city centre.

The displays feature multiple art forms from fine art and photography to ceramics, crafts, mosaics and murals curated by well-known and emerging artists and collectives – all with a connection to Greater Manchester.

Artists and makers taking part include: Wellcome Trust prize winner Benji Reid, Manchester born mixed media landscape artist Sarah Connell and contemporary creative studio Lazerian.

All pieces on display will be available to buy directly from the artist or maker, giving a much needed boost to the city’s creative community.

The project culminates with an auction which will see a selection of pieces auctioned with proceeds going to their artists and makers, and to The Lord Mayor of Manchester Charity Appeal Trust – We Love MCR Charity  which aims to help improve the lives and life chances of Manchester people.

It was a pleasure to work again with the wonderful Wild in Art after documenting their wildly successful 2018 Bee in the City project.

Find out more about Wild in Art at www.wildinart.co.uk

Phil Constable Location: Mackie Mayor, Coop Street

LeiMai LeMaow Location: On Yard and Coop, Hare St

Caroline Dowsett Location: Hatch, Unit 25, Oxford Road

MHHA - Manchester Hip Hop Archive Location: Royal Northern College of Music

Manchester Digital Music Archive Location: Royal Northern College of Music

Phil Constable Location: Mackie Mayor, Coop Street

LeiMai LeMaow Location: On Yard and Coop, Hare St

Hammo Location: Ellis Brigham Mountain Sports, Duke St

Atelier Bebop Location: Selfridges Exchange Square

Hammo Location: Ellis Brigham Mountain Sports, Duke St

LeiMai LeMaow Location: On Yard and Coop, Hare St

LeiMai LeMaow Location: On Yard and Coop, Hare St

Hammo Location: Ellis Brigham Mountain Sports, Duke St

Caroline Dowsett Location: Hatch, Unit 25, Oxford Road

Akse Location: Next to BAB NQ, Little Lever St

LeiMai LeMaow Location: On Yard and Coop, Hare St

LeiMai LeMaow Location: On Yard and Coop, Hare St

Tim Denton Location: Chapel Wharf, opposite Lowry Hotel

Benji Reid Location: National Football Museum

Phil Constable Location: Mackie Mayor, Coop Street

Hammo Location: Ellis Brigham Mountain Sports, Duke St

Caroline Dowsett Location: Hatch, Unit 25, Oxford Road

Ric Facchin Location: ChriSalon, Princess St

LeiMai LeMaow Location: On Yard and Coop, Hare St

Barnfather Wire for HTP Digital

Barnfather Wire Factory Photography | Industrial Wire Manufacturing in Wednesbury

I was commissioned by long‑time collaborators HTP Digital to photograph Barnfather Wire, the UK’s largest independent wire production company, for imagery to support the company’s new website. The assignment took place at Barnfather’s factory in Wednesbury, West Midlands, capturing the facility, production operations, and skilled workforce that make Barnfather a leader in the wire manufacturing industry.

About Barnfather Wire and Its Manufacturing Expertise

Barnfather Wire specialises in the production of high‑quality drawn wire products, serving a diverse customer base that includes blue‑chip companies supplying major global brands as well as small and medium British manufacturers. The company manufactures a wide range of wire types, including baling wire, bright mild steel, cut lengths, cold heading quality wire, galvanised wire, and bespoke wire solutions tailored to specific industrial needs.

The company’s state‑of‑the‑art facility and experienced team enable it to deliver reliable products that meet and often exceed industry standards. One notable achievement was supplying the wire used to create the stems for the ‘Blood Swept Lands and Seas of Red’ Tower of London poppy installation, demonstrating both production capacity and technical quality.

In recent years Barnfather Wire has invested in advanced machinery, including high‑speed precision drawing equipment, expanding production capacity and reinforcing its position as a leading wire producer in the UK and Europe.

Industrial Photography at Barnfather Wire

Photographing industrial environments like the Barnfather Wire factory involves more than simply documenting machines. The images capture the scale of operations, the precision of manufacturing processes, and the human skill that drives production. By including shots of raw materials, machinery, production lines, and operators at work, the photography provides a visual narrative of what makes the company’s output reliable and high quality.

These photographs can be used across Barnfather Wire’s new corporate website, in marketing materials, sales brochures, technical documentation, industry catalogues, and investor communications, helping customers and partners understand the company’s capabilities at a glance.

The Importance of Industrial Photography for Manufacturers

Industrial photography plays a critical role in how modern manufacturers present themselves online and in print. Quality images allow companies to visually communicate professionalism, facility standards, production processes, and workforce expertise. Showing the operations behind the products helps build trust with potential customers who need assurance about quality and capability before entering into commercial relationships.

Well‑executed industrial imagery also strengthens brand identity by humanising the business, showing the people behind the products and the environments where engineering and manufacturing happen. When customers see detailed and authentic visuals of a factory floor or production line, it can reinforce the perception of quality and transparency, helping differentiate a manufacturer in a competitive market.

Beyond websites, these photographs can be leveraged across marketing channels including social media, trade show displays, printed catalogues, press releases, and corporate reports. Consistent, high‑quality visuals increase engagement and support brand recognition across digital and offline platforms.

Creating a Visual Narrative for Customers and Partners

For businesses like Barnfather Wire, industrial photography provides visual proof of technical expertise, production capability, and operational scale. Detailed images of machines in action, technicians at work, and finished products help prospective clients quickly assess whether the company meets their requirements. High‑quality photography is a tool that supports sales, improves engagement, and reinforces credibility with customers, suppliers, and partners alike.

Phoenix Healthcare distribution for Fagan Jones

Pharmaceutical Facility Photography in Preston Brook | Automated Drug Distribution and Logistics

I was commissioned to photograph a high-technology pharmaceutical distribution facility in Preston Brook on behalf of the film production company Fagan Jones. The shoot was organised by producer Vicky at Fagan Jones, and I was working alongside the exceptionally talented cinematographer Dan Lightening, who was filming moving footage for the same project.

My role on the day was to create a set of still photographs documenting the scale, infrastructure and day-to-day operations of the site. These images would complement the film production while also providing a visual record of the facility for marketing, communications and corporate use.

Inside a High-Technology Pharmaceutical Logistics Facility

The distribution centre in Preston Brook is an impressive example of the level of automation now present in modern pharmaceutical logistics. Within the facility, miles of robotised and computer-controlled conveyor systems move medicines through a carefully designed network of routes. These automated systems pick, sort and pack drugs before they are dispatched to pharmacies across the UK.

From a photographic perspective the site offered a remarkable environment to document. Long corridors of conveyors run through the building, with automated picking machines selecting products at speed before they are routed through packing stations. Containers glide through the system in a constant flow, guided by computerised logistics software that ensures the correct medication reaches the correct destination.

Facilities like this are essential parts of the national healthcare supply chain. The efficiency and reliability of the logistics systems ensure that pharmacies and healthcare providers receive the medicines they need quickly and accurately. Photographing such environments provides a glimpse into the highly organised infrastructure that underpins pharmaceutical distribution.

Photographing Automation, Robotics and Industrial Systems

Industrial photography in environments like this requires a combination of wide architectural views and detailed documentary images. Wide photographs show the scale of the operation, with long lines of conveyors stretching across large warehouse spaces. These images help communicate the sheer size of the facility and the complexity of the logistics network.

At the same time, close-up photographs reveal the precision of the machinery involved. Sensors, scanners and robotic arms guide containers along the system, while packing stations assemble shipments ready for distribution. Capturing these smaller details helps explain the process visually, showing how individual components of the system work together to form a seamless operation.

Lighting conditions in large industrial buildings can also present interesting challenges. High ceilings, mixed light sources and moving machinery require careful attention to exposure and timing in order to produce clear and dynamic images.

Stills Photography Alongside a Film Production

One of the most enjoyable aspects of the commission was working alongside a film crew. While Dan Lightening focused on capturing cinematic footage of the logistics process, my role was to produce still images that documented the same environment from a complementary perspective.

Working in parallel with a film crew requires a degree of coordination. Film productions often involve lighting setups, rehearsed camera movements and multiple takes, whereas still photography typically requires more mobility in order to capture spontaneous moments. The aim is always to work collaboratively so that both the stills and the moving images can be produced efficiently without interrupting the workflow of the facility itself.

Photographs created during these types of productions are often used in a wide range of contexts, including websites, press releases, annual reports and promotional material. They provide organisations with a visual record of the project that can be used long after the filming itself has been completed.

Documenting the Scale of Modern Logistics

Large automated facilities like the one at Preston Brook are fascinating places to photograph because they combine architecture, engineering and human expertise. Despite the high level of automation, the site is still supported by skilled staff who oversee the systems, monitor quality control and ensure that everything runs smoothly.

Capturing both the human and technological aspects of the environment helps create a more complete narrative of how the facility operates. Images of staff interacting with the machinery, monitoring computer systems or managing packaging operations provide context to the vast automated infrastructure surrounding them.

The visual rhythm of the conveyors, the repetition of containers moving through the system and the geometric lines of the machinery all contribute to a distinctive aesthetic that is unique to industrial and logistics photography.

A Fast-Moving Day on Location

Facilities of this scale are rarely static environments. Conveyors are constantly moving, robots are continuously sorting products, and staff are working across different areas of the building to keep operations running smoothly. For a photographer, this means covering a significant amount of ground in a limited amount of time in order to capture the full story of the site.

By the end of the day it was clear that running shoes should probably be considered essential equipment for photographers working in environments like this. Moving quickly between different areas of the facility, keeping pace with both the film crew and the production schedule, makes for a busy but very rewarding assignment.

Documenting the combination of advanced technology, logistics infrastructure and human expertise that keeps a pharmaceutical distribution centre operating is always fascinating. It also offers a reminder of the enormous systems working behind the scenes to ensure medicines reach pharmacies and patients across the country.

BeClear Orthodontics for What Marketing

BeClear Orthodontics Cosmetic Dentistry Photography and Campaign Shoot

During the quieter months of the coronavirus-disrupted summer, I had the pleasure of working with What Marketing on a photography and video campaign for BeClear Orthodontics, a leading cosmetic dentist specialising in Invisalign teeth aligners. The shoot offered a unique opportunity to document the precision, care, and aesthetic results that make BeClear’s services stand out.

Capturing Invisalign and Cosmetic Dentistry

BeClear Orthodontics are specialists in Invisalign aligners, designed to be almost invisible, even in extreme close-up shots. The campaign required detailed photography that could showcase the effectiveness of the aligners while maintaining a natural and approachable aesthetic for potential patients. Capturing these subtle details required careful lighting, angles, and technical precision.

Adapting to Covid-19 Safety Protocols

This was my first shoot following social distancing and mask-wearing protocols. These measures presented a challenge for everyone on set, from models to the creative team, but the day ran smoothly. Photography and video were completed successfully, balancing safety with high-quality visual content for the campaign.

Collaboration with Models and Marketing Team

The campaign shoot involved several models and close collaboration with the BeClear Orthodontics team. Their professionalism and enthusiasm helped ensure that the photography captured the natural confidence and satisfaction that comes with Invisalign treatment. Working with What Marketing on this project was an enjoyable experience, and I’m looking forward to the next campaign shoot scheduled for October.

Highlighting Cosmetic Dentistry in Campaigns

Professional photography for dental and cosmetic services plays an important role in marketing. Images need to convey precision, trust, and aesthetic outcomes while appealing to potential patients. The BeClear Orthodontics campaign highlights the company’s expertise and commitment to subtle, effective dental treatments, positioning them as a leading provider of Invisalign in the UK.

Mark Radcliffe for the Daily Telegraph

Portrait of Mark Radcliffe at Dunham Massey | Daily Telegraph Motoring Feature

While going through old hard drives recently I came across another set of photographs from an earlier editorial commission. The images feature broadcaster and writer Mark Radcliffe, photographed at Dunham Massey Country Park in Cheshire for a motoring feature in the Daily Telegraph.

Mark Radcliffe is exactly as you might expect from his radio persona: knowledgeable about music, quick-witted, a lifelong Manchester City supporter and generally an extremely good person to spend time with on a shoot. I have photographed him a couple of times over the years, and this particular session was for a feature pairing him with a beautifully restored vintage Volkswagen Beetle.

Mark Radcliffe: Broadcaster, Author and Music Journalist

Mark Radcliffe is well known in the UK for his long career in broadcasting, particularly on BBC Radio where he has presented a wide range of music programmes across several decades. Many listeners first encountered him through his partnership with Marc Riley on BBC Radio 1 in the 1990s, before Radcliffe went on to present programmes on BBC Radio 2 and BBC Radio 6 Music.

His work has always been characterised by a deep enthusiasm for music, ranging from alternative rock and indie through to folk and country. In addition to broadcasting, Radcliffe is also a writer and musician, contributing regularly to publications and performing with his folk group The Shirehorses.

Because of this long-standing role in British music broadcasting, he remains a familiar and well-liked figure to audiences across the UK. Photographing personalities like Radcliffe is often straightforward because their ease in conversation translates naturally into relaxed portraits.

Editorial Portrait Photography for Newspapers

This portrait session took place at Dunham Massey Country Park in Cheshire, a location that provided an appropriate rural backdrop for the Daily Telegraph’s motoring feature. Editorial portrait photography for newspapers often involves finding a setting that complements the theme of the article while still allowing the subject’s personality to come through.

The vintage Volkswagen Beetle featured in the piece added a strong visual element to the shoot, combining classic automotive design with a relaxed outdoor location. Working with well-known public figures in this kind of editorial context requires balancing documentary observation with informal portraiture, capturing both the person and the environment in which the story is set.

Photographing Personalities for Editorial Features

Portrait photography for editorial publications often moves quickly, with limited time to establish rapport and create images that work both visually and narratively. When the subject is comfortable and engaged, the process becomes much easier, allowing the photographer to focus on composition, light and atmosphere.

In this case, the combination of a distinctive car, an attractive location in Cheshire and an engaging subject made for an enjoyable shoot and a memorable commission for the Daily Telegraph.

Documentary Photography for Buzzfeed News

Words by Laura Silver, BuzzFeed News Reporter

Harassment Outside Abortion Clinics Is Still Happening, But Local Authorities Are Struggling To Stop It

The Home Office has rejected calls to put a national ban on abortion clinic protests, but councils are a long way off tackling the issue locally.

In a narrow side street outside a Marie Stopes clinic in Fallowfield, Manchester, it’s business as usual for the anti-abortion protesters who have been gathering here for the past decade.

On this particular Saturday, a small group is playing hymns from a sound system pitched up next to a wooden cross and posters showing the Virgin Mary. Their mission is simple: Dissuade women from going ahead with an abortion.

“We’re praying to save the babies, darling,” an elderly woman with an Irish accent tells BuzzFeed News, while offering a string of plastic rosary beads, a leaflet describing the gestational stages of a foetus, and phone numbers for the anti-abortion charities Life and the Good Counsel Network.

A chorus of the “Hail Mary” rings out behind us as she says with much pride that she stands outside the clinic most days, and believes she has “saved quite a few babies” over the years, including one today.

“Hail Mary, full of grace. Our Lord is with thee,” her companions chant over the hum of traffic from the nearby main road. “Blessed art thou among women, and blessed is the fruit of thy womb, Jesus.”

Watching them from across the street are volunteers from Sister Supporter, an abortion rights group, who gather to deter the protesters from approaching women seeking abortion at the clinic.

Sister Supporter, founded in London in 2015, has also been lobbying authorities to introduce measures such as a buffer zone that effectively bans any group from gathering immediately outside an abortion clinic, to prevent women from feeling harassed.

This year there was a major breakthrough: The campaign led to the UK’s first public space protection order (PSPO) outside a Marie Stopes branch in Ealing, west London, where anti-abortion protesters have had a near-constant presence for over 20 years.

Staff at the clinic told BuzzFeed News that incidents of alleged harassment have virtually disappeared since the buffer zone was put in place.

The PSPO was achieved through the efforts of the local authority, Ealing council, but there had been optimism that a Home Office review of harassment outside abortion clinics — launched by the then home secretary, Amber Rudd — would result in national guidelines that councils could rely on.

Last week, however, Rudd’s successor Sajid Javid dashed those hopes, saying it would "not be a proportionate response" and that individual councils should instead follow Ealing’s lead and tackle the issue locally. The review had received more than 2,500 submissions and identified 36 sites nationwide as problem areas.

His decision has angered clinic staff and local councillors who argue that cash-strapped councils will struggle to undertake the lengthy process of passing PSPOs, leaving women who face harassment outside clinics without protection in the meantime.

“I’m really mad about it,” Jackie Schofield, a clinical team lead at Marie Stopes Fallowfield, told BuzzFeed News. “Everybody has freedom of speech, fair enough, but not outside the place when there’s vulnerable people. I just think it’s wrong, I really do.”

During the years she has worked at the Manchester clinic, Schofield said, she has often had to spend significant time calming her patients who have found it upsetting to be greeted by protesters on what can already be a distressing day.

She said she has regularly witnessed the protesters calling patients and staff “murderers” or telling women they will “go to hell” if they enter the clinic, meaning they’re often too distressed for their appointments. “I’m going through a consent process but I have to calm them down a lot first because of what’s happened to them before they even got started ­— it really messes with them,” Schofield added.

Schofield, and several other staff, told us that recently a protester had stood breastfeeding a baby outside the clinic, and that last Christmas anti-abortion groups handed out wrapped packages containing knitted baby booties, wishing them “Happy Christmas, Mummy.”

She said these incidents can be especially upsetting for women who have travelled from Ireland. Although the country voted to legalise abortion earlier this year, the ongoing legislative process means that services will not be available until 2019 — and remain illegal in Northern Ireland — so Irish women will continue to travel to the UK to access abortion.

“Today is an Irish day,” Schofield said. “Tuesdays and Saturdays we have lots of Irish ladies because the flights are cheaper. Can you imagine having to go through all that anyway, and then coming here and getting this?”

Lynn Bradley, a healthcare support worker who has been at the clinic for nine years, said she was physically assaulted by a protester on one occasion — an account she submitted to the Home Office review.

“She chased after me and started slapping me on the back,” said Bradley, a chirpy, white-haired woman with a thick Manchester accent.

“Whenever she sees me she does this,” she added, making a throat-slitting gesture and sticking out her tongue. “She’s very crafty — she does it when she’s on her own.”

Bradley, whose job involves supporting women before and after they receive treatment, was also disappointed by Javid’s response. “When we arrive in the morning [protesters] make it as awkward as possible for you when you get out the car, calling us murderers, saying you’ll go to hell, and that’s before you start a day’s work,” she said.

“We can cope with it, but at the end of the day, these ladies shouldn’t be put through that.”

Manchester city council has passed a motion to explore the possibility of a PSPO outside the Fallowfield clinic, but even with resounding support across the board, progress will be slow.

“It’s a really long process and we still need to go through the evidence-gathering and mapping where the PSPO would cover,” Rebecca Moore, councillor for the neighbouring ward of Withington, told BuzzFeed News.

Ealing council is facing an ongoing legal challenge over its PSPO, and Moore said she had sensed a nervousness within her own council about the threat of a lengthy and costly court battle if a PSPO were to be introduced in Fallowfield.

“Local government finances are in a really bad state, so if there’s any big costs to implementation I think that’s going to cause concern to a council that’s had to go through such big austerity measures,” Moore continued.

“I don’t think that means that it shouldn’t be done or wouldn’t be done, but it is a concern.”

Grace Fletcher-Hackwood, a councillor for Fallowfield, questioned whether the Home Office would have made the same decision if protesters were gathered outside a local cancer hospital like the Christie, which is situated nearby.

“If they rocked up outside the Christie, people would realise how inappropriate that is,” she said. “You make medical decisions with yourself and your doctor based on what is good for your own health, not because of some ideologues who have posted themselves outside the clinic and decided they’re qualified to speak about what’s best for you and your body.”

Disappointment over Javid’s statement has been felt across the country, including in Portsmouth, where the local authority has agreed to look into ways to prevent protests at the clinic.

It, too, is in still in the early stages and is currently working out how best to proceed in light of the Home Office decision, according to a council spokesperson.

Chris Francis, a clinic manager at the Portsmouth branch of the British Pregnancy Advisory Service (BPAS), another of the UK’s major abortion providers, said: “If there’s national legislation in place, then as soon as women get harassed we can fall back on that.

“But getting a local decision, you have to get an agreement for a consultation process, and then you have to go through the consultation.”

In the meantime, Francis continued, anti-abortion protesters remain active outside the clinic, which is based within the sexual health centre at St Mary’s Hospital, where a mental health ward is situated above. “I know they caused some real upset for some vulnerable women in care there,” she added.

Francis told us that the protesters were especially aggressive during the biannual 40 Days for Life campaign, due to begin on Sept. 26, where anti-abortion protesters around the world increase the frequency of their gatherings outside clinics.

“We’ve had singing outside the hospital so we could hear them inside,” she said, referring to the previous 40 Days for Life campaign, which took place in February. “They were handing out knitted booties and rosaries in baby blue and pink, and generally harassing any woman entering the hospital who looked like she could be childbearing age.”

Francis said that protesters move from clinic to clinic, so it can be difficult to gather evidence of consistent harassment at the particular sites where each individual PSPO is needed.

“With Portsmouth, by the time they were starting to consider the PSPO, the protesters moved to Bournemouth,” Francis told BuzzFeed News. “I know it was the same guys because I went there and saw the same faces. They move around the country. [There] has to be some kind of national legislation.”

The evidence-gathering process also requires women who have been harassed to relive the experience when providing accounts to clinic staff or, in some cases, the police.

Back in Manchester, Katy Kershaw, a clinical team lead at Marie Stopes in Fallowfield, said many women just don’t want to engage. “They just want to forget about it; they don’t want to come back and talk about how traumatic it was to have protesters pass them things, or be told they’re murdering their baby,” she said. “They just want it over and done with.”

For clinic staff, who have full lists of patients to work through every day, working with councils to build a compelling case for a PSPO means a significant increase to their workload.

“It’s a struggle because it’s time-consuming,” Kershaw continued. “We’re such a busy clinic that it’s difficult for us to get out to the council to say how much we need them.”

Manchester council, Kershaw said, has been proactive. “They’ve been coming to see us — we didn’t have to approach them,” she said, but worried that this wouldn’t necessarily be the case everywhere.

Beth Redmond, who leads Manchester’s Sister Supporter branch, was also sceptical that councils across the country would be as dedicated as Manchester. “The thought of having to do this for more than one council doesn’t really bear thinking about,” she added.

Both Birmingham and Leeds city councils have in the last year passed motions to explore measures to prevent harassment outside abortion clinics. They say the work is ongoing, but neither have begun a formal evidence-gathering or consultation period.

Redmond said she worried about what scale harassment outside abortion clinics would have to reach before the Home Office would deem it necessary to act nationally. “What does Sajid Javid want? Does he want someone to get hurt?” she continued. “It feels like waiting for something awful to happen when actually bad things are already going on.”

Despite an ongoing legal challenge to Ealing’s PSPO, protesters have adhered to its restrictions and clinic staff and local councillors consider it to be a success.

The Good Counsel Network’s Clare McCullough, who had organised the vigils in Ealing, told us that as her volunteers are distanced from the clinic, she is unable to “support” as many women. She continues to protest against abortion in the designated area in Ealing, as well as outside a BPAS clinic in Richmond, southwest London, and a Marie Stopes facility in the city centre.

But even Ealing’s PSPO is not without vulnerability. Alina Dulgheriu, who brought the initial legal challenge against the council, has crowdfunded more than £50,000 to launch an appeal. The order is only temporary, meaning Ealing council will have to undergo the same time-consuming process to get it renewed when it expires in three years’ time.

Binda Rai, the councillor for Ealing’s Walpole ward who led the council’s efforts to implement the current PSPO, said it was “outrageous” for Javid to expect other councils to duplicate this effort time and again.

“The current system means that councils have to go through a lengthy and complex process to allow women access to services that they are entitled to with privacy and dignity, free from the interference that causes them distress and harassment,” Rai said.

“It would appear that he has no understanding of what women go through at such a vulnerable and difficult period in their lives,” Rai continued. “It is a national issue: Women up and down the country are facing harassment from protestors outside abortion clinics and this activity is on the increase. To avoid a postcode lottery for women, a national solution is a must and would take this debate away from clinic doors and ensure a consistent approach across the country.”

Responding to Javid’s announcement last week, Labour MP Rupa Huq, who helped bring the issue to national attention, vowed to keep on fighting for a universal ban.

“Shoving the burden on to already cash-strapped local authorities is not addressing the problem, it’s just passing the buck,” Huq, who represents Ealing Central and Acton, told BuzzFeed News.

“I will not give up on this and have been promised a meeting with ministers so as to ensure vulnerable women cannot be sidelined and that they can access healthcare as is the case with any other procedure.”

Huq has received wide political support on the issue, including from Labour leader Jeremy Corbyn, who accused Javid of a “shocking failure to protect women from harassment and intimidation when exercising their right to choose”.

In the meantime, the protests outside abortion clinics are free to continue.

When the 40 Days for Life campaign starts again on Sept. 26, a spokesperson told BuzzFeed News, it will have volunteers stationed outside clinics nationwide, seven days a week, from 8am to 8pm.

Redmond said she was concerned that the Home Office’s decision could leave protesters feeling emboldened: “I do think they will be saying, ‘Why are you telling us we can’t be here when the most powerful people have told us that we can?’”

New website photography for Nufox

Industrial Photography at Nufox | Manufacturing, Materials and Polymer Engineering

It has been a long time since I finished my PhD in Materials Science. My research focused on high-temperature materials, yet my office was not in the upper laboratories with the furnaces and laser flash equipment. Instead, I was based in the basement alongside the polymer engineers, surrounded by extruders, water baths and the persistent, slightly rubbery smell that seems to accompany plastics processing everywhere.

So it was with a certain sense of nostalgia that I recently found myself once again among the extruders and cooling baths while photographing the manufacturing processes at Nufox. The commission involved creating a set of industrial and documentary images of their people, processes and products as part of an upcoming redesign of the company’s website.

Photographing Manufacturing and Industrial Processes

Industrial photography often involves documenting complex production environments in a way that is both visually clear and technically accurate. At Nufox, the focus was on capturing the interaction between machinery, materials and skilled operators working across the production line.

Extrusion processes are particularly interesting to photograph because they combine movement, heat and material transformation. Polymer compounds pass through heated extruders before being shaped, cooled in water baths and processed into finished products. Visually, these processes create strong lines, textures and contrasts that lend themselves well to documentary industrial photography.

Materials Science and Manufacturing Context

Having previously worked in a materials science environment made it especially enjoyable to return to this type of setting. Many of the sights and sounds of a polymer processing facility are instantly familiar: the steady rhythm of extruders, the cooling lines running through water baths, and the careful monitoring of materials as they move from raw compound to finished product.

That background also helps when photographing technical environments, where understanding what is happening in the process can make it easier to anticipate key moments and capture meaningful images of both equipment and people at work.

Industrial Photography for Website and Marketing Use

The images produced at Nufox were designed primarily for their forthcoming website redesign. For manufacturing companies, professional photography plays an important role in communicating capability, scale and expertise to potential clients and partners.

Photographs of production environments, staff and finished products help create a clear visual narrative of how a company operates. These images are typically used across websites, marketing materials, recruitment campaigns and corporate communications.

Documenting facilities like Nufox provides an authentic visual record of the manufacturing process while helping companies present their work clearly and professionally online.

Documentary photography of Helen Knowles 'Trickle Down', Arebyte Gallery, London

Helen Knowle’s immersive four-screen installation ‘Trickle Down’ opened on 23rd January.

I attended the final set-up day to photograph the completed installation ahead of the opening night.

Trickle Down, A New Vertical Sovereignty is a tokenised four-screen video installation and generative soundscape, which explores value systems and wealth disparity. The artwork is composed of auction scenes, performances and choral interludes by different communities such as prisoners, blockchain technology employees, market sellers, and Sotheby’s auction bidders.

The installation commences when a visitor drops a pound coin into a machine designed to expose the mechanisms needed to convert fiat currency into crypto-currency. The sensors, software and electronic components along with a read out of the blockchain ledger are exposed, embedded in a large sheet of glass. Each and every member of the Trickle Down community, who has helped the work come to fruition,  will receive a share of the ETH via a crypto-currency wallet, questioning: can technology be a unifying force to enable more equality in society or does technology only work effectively for those who are educated to navigate it? 

Knowles documented a series of auctions in widely different settings, which reflect the disparities in wealth and financial power individuals in different communities have. These include prisoners at HMP Altcourse in Liverpool, Ethereal Summit attendees, employees at blockchain company ConsenSys in New York, shoppers at Openshaw market in North Manchester and the Russian community in central London buying cultural artefacts at Sotheby’s auction house. Knowles photographed members of these communities during the bidding process, documenting their attire rather than identities.

Images of expensive handbags, jewels, fur and beautifully woven fabrics accompany sounds of rising numbers as cultural artefacts are offered for sale. At the opposite end of the wealth spectrum, bric a brac and basic goods are being bought in bulk at the north Manchester market and prisoners bid with their labour for plants to send to relatives for Christmas, during an auction staged by the artist exploring prison economies. 

Trickle Down, A New Vertical Sovereignty seeks to explore and provoke questions about labour, automation, value in art, decentralised sharing economies and distribution of wealth.

https://www.arebyte.com/trickle-down-a-new-vertical-sovereignty

British Association for Applied Linguistics conference

Conference Photography at the BAAL Conference, Manchester Metropolitan University

A few weeks ago I photographed the latest conference organised by the British Association for Applied Linguistics (BAAL) at Manchester Metropolitan University. The event brought together researchers, academics and students working across the field of applied linguistics, with presentations, panel discussions and networking sessions taking place throughout the day.

Photographing academic conferences like this is always engaging, not only from a visual perspective but also intellectually. As a photographer you are immersed in subjects that you might not otherwise encounter, documenting conversations and presentations while absorbing ideas and research happening around you.

Applied Linguistics and Academic Research

The BAAL conference this year explored a range of themes connected to language learning and linguistic research. Topics included language acquisition, the experience of learning foreign languages, and the ways in which emerging technologies are influencing communication and linguistic change.

Events like these highlight the diversity of contemporary research in applied linguistics. Bringing together scholars from different institutions allows for discussion and collaboration while giving attendees the opportunity to share new insights and approaches to teaching, learning and analysing language.

Photographing Academic Conferences

Conference photography requires a balance between documentary observation and careful timing. The aim is to capture a clear visual record of the event: keynote speakers presenting their research, audience engagement during talks, informal discussions between delegates, and the overall atmosphere of the venue.

Universities and academic organisations often use these images for future conference promotion, websites, social media, and institutional archives. High-quality photographs also help illustrate the energy and collaborative nature of academic gatherings.

Feedback from the Conference Organiser

Freelance photographers often deliver work after an event without hearing much about how the images are received, so it was particularly gratifying to receive this message from the BAAL conference organiser afterwards:

“I’ve just downloaded the photos – absolutely fantastic. I’ve never given a photographer such a haphazard brief and had it nailed so well, so thanks very much. I wouldn’t hesitate to use you again based on these.”

Positive feedback like this is always encouraging, especially when working in fast-moving environments such as conferences where capturing the right moments requires careful observation and responsiveness.

Conference Photographer in Manchester and the UK

If you are organising a conference, academic event or professional gathering and require a photographer in Manchester, the North of England or elsewhere in the UK, please feel free to get in touch via email or through the contact form on the About page of this site.

British Ecological Society Summer School

Event Photography: British Ecological Society Summer School at Malham Tarn

I recently worked with the British Ecological Society (BES) as a documentary photographer during their annual summer school, a week-long residential field experience for students studying sciences at A-level, Scottish Higher, and equivalent qualifications. This year, 31 students from seven schools across the UK gathered at Malham Tarn in the Yorkshire Dales to explore ecology, fieldwork, and environmental science firsthand.

I photographed one day of the programme, providing an overview of the day’s activities while creating marketing and social media material for BES. The focus was on capturing students engaged in fieldwork, discussions, and outdoor learning, showing both the educational content and the immersive nature of the experience.

Documenting Fieldwork and Student Engagement

Even within a single day, there are many moments that illustrate the value of hands-on ecological learning. One highlight was the nature walk led by Dr. Daniel Forman, lecturer in Biosciences at Swansea University. Although I had walked the same route previously as part of the Pennine Way, Dr. Forman’s insights into the local ecology and species interactions offered students—and my photography—a new perspective on the landscape.

Photographs captured students observing habitats, taking notes, and interacting with instructors, emphasizing curiosity, engagement, and teamwork. These images help convey the hands-on learning experience to audiences who could not attend.

The Importance of Professional Photography for Educational Programmes

High-quality photography is essential for educational initiatives like the BES summer school. Images from even a single day:

• Provide marketing material to promote future programmes

• Document student engagement for internal review

• Show the collaboration between students and instructors

• Support social media, newsletters, and press coverage to demonstrate programme impact

Capturing these moments professionally ensures that BES can showcase both the learning outcomes and the immersive, field-based nature of the summer school.

Malham Tarn: A Unique Field Site

Malham Tarn in the Yorkshire Dales offers a diverse ecological setting, including wetlands, limestone landscapes, and surrounding habitats. Photographing students in this environment demonstrates how fieldwork brings theory to life and provides unique learning opportunities. Images from the day highlight the interaction between students, instructors, and the environment, which is central to BES’s mission.

Conclusion

Documenting one day of the British Ecological Society summer school allowed me to capture the energy, curiosity, and engagement of the students while providing BES with professional material for marketing, social media, and archival purposes. Working alongside expert instructors like Dr. Daniel Forman made the day both professionally and personally rewarding.

For more information about the British Ecological Society and their educational initiatives, visit britishecologicalsociety.org.

Cecily Brown by Shana Wilson

Portrait of Cecily Brown | Featured in Shana Wilson’s TribeShe Series

Portrait Photography Shared and Reinterpreted by Shana Wilson

Earlier this year, artist and creator Shana Wilson approached me about using my portrait of the British‑born painter Cecily Brown as the basis for a new work in her ongoing TribeShe series. TribeShe is a portrait series dedicated to increasing the visibility and empowerment of women over 40, celebrating their resilience, creativity, and continued cultural impact. Wilson’s work reframes existing images by placing them in a broader narrative of visibility and representation, making the original photograph a starting point for a new visual dialogue.

My original portrait of Cecily Brown and Wilson’s nearly completed reinterpretation are featured below, showing how portrait photography can transcend its initial purpose to inspire creative reinterpretation and collaboration within the visual arts. You can find more of Shana Wilson’s work at her website: shanawilsonartist.com.

Who Is Cecily Brown and Why a Portrait of Her Matters

Cecily Brown is a highly influential British painter whose work has been central to the resurgence of figurative painting since the 1990s. Born in London in 1969, she studied at the Slade School of Fine Art before moving to New York in the mid‑1990s, where she quickly established herself on the international art stage. Her early exhibitions at Deitch Projects were met with critical and commercial success, and her career has included solo shows at major institutions such as the Hirshhorn Museum in Washington, D.C., Museo Reina Sofía in Madrid, and Blenheim Palace in the UK, among others.

Brown’s work is characterised by sweeping, gestural brushwork that blurs the boundary between abstraction and figuration. She draws on influences ranging from Abstract Expressionists like Willem de Kooning to Old Masters such as Rubens and Goya, combining historical references with a deeply personal exploration of movement, form, and perception. Her paintings often appear intense and kaleidoscopic, inviting sustained viewer engagement and reflection.

Brown’s paintings are included in the permanent collections of world‑renowned institutions including the British Museum, Tate Modern, the Museum of Modern Art in New York, and the Whitney Museum of American Art. Beyond her aesthetic achievements, her influence stems from how she revitalised painting at a time when conceptual and multimedia art dominated. Her commitment to paint as a medium, and her ability to synthesise figuration and abstraction, marks her as one of the most important painters of her generation.

TribeShe: Amplifying Women’s Voices Through Art

Shana Wilson’s TribeShe series focuses on women over 40, emphasising empowerment, legacy, and representation. By selecting portraits of women who have already made significant cultural contributions, Wilson reframes them in a way that foregrounds lived experience, agency, and continued relevance. Choosing a portrait of Cecily Brown — an artist with an influential career spanning decades and an international presence — aligns with TribeShe’s mission to highlight women whose voices deserve wider recognition.

Wilson’s reinterpretations are not merely aesthetic exercises; they position women’s stories within broader societal and artistic conversations, elevating subjects who have shaped their fields and whose work continues to resonate across communities.

The Power of Portraiture and Collaboration

Portrait photography captures more than a likeness; it reflects presence, influence, and context. A portrait of an artist like Cecily Brown carries weight not just because of her stature in the art world but because her career embodies sustained creativity and a commitment to her medium. Through Wilson’s reinterpretation, the original photographic work becomes part of a larger exploration of identity, ageing, and leadership in the arts.

This kind of artistic dialogue — where photographic portraiture becomes a catalyst for further creation — demonstrates the dynamic interplay between image, interpretation, and cultural narrative. It highlights the ways in which visual representation can both document and reframe the significance of influential figures.

Conclusion

Being approached by Shana Wilson to contribute to her TribeShe series through my portrait of Cecily Brown was a reminder of how photography can extend beyond its initial purpose, becoming part of new artistic stories and collaborations. The partnership between photographer and painter, between original image and reinterpretation, reflects the fluid, ongoing conversations within contemporary art about identity, visibility, and empowerment.

Explore more of Shana Wilson’s work at shanawilsonartist.com.