Professional Headshot Photography to Build Your Personal Brand

As a freelance photographer specializing in headshot photography, I am dedicated to helping you create a strong personal brand that stands out in today’s competitive marketplace. Whether you're an actor, corporate professional, entrepreneur, or creative artist, a high-quality headshot can make a significant impact on how you're perceived.

Why Choose Professional Headshots?

In a digital world where first impressions often happen online, a professional headshot is more important than ever. It serves as your visual introduction, giving potential clients, employers, or collaborators a glimpse of your personality and professionalism. With years of experience in portrait photography, I understand the nuances that make a headshot truly exceptional. Here are a few reasons to invest in professional headshot photography:

1. Build Trust and Credibility

A well-crafted headshot conveys trustworthiness and professionalism. It can enhance your personal brand and increase your chances of being remembered. In a sea of profiles, a standout image can make all the difference.

2. Tailored to Your Needs

Every client is unique, and I take the time to understand your specific requirements and vision. Whether you prefer a corporate look for LinkedIn, a creative vibe for your portfolio, or a friendly appearance for networking events, I tailor the session to capture your individuality.

3. High-Quality Results

Using professional-grade equipment and techniques, I ensure that each headshot is of the highest quality. From lighting and composition to post-processing, every detail is meticulously handled to deliver stunning results.

The Headshot Photography Process

Consultation

Before we start, I offer a consultation to discuss your goals, preferred styles, and any specific locations you have in mind. This initial conversation is crucial in ensuring that we capture the essence of who you are.

Photoshoot

During the shoot, I create a relaxed atmosphere to help you feel comfortable. Whether in my studio or on location, I guide you through poses and expressions to showcase your personality effectively.

Editing and Delivery

Post-session, I carefully edit the images to enhance their quality while maintaining authenticity. You’ll receive your headshots in various formats, perfect for both online and print use.

Perfect for All Professions

I cater to a diverse clientele, including:

• Corporate Professionals: Elevate your LinkedIn profile and company website with polished headshots that reflect your professionalism.

• Actors and Performers: Showcase your unique character with compelling headshots that resonate with casting directors.

• Entrepreneurs and Freelancers: Establish your brand identity with dynamic images that convey your passion and expertise.

• Creatives and Artists: Capture your artistic essence in headshots that tell your story.

Booking Your Headshot Session

Ready to elevate your image? Booking your headshot session is easy! Visit my Contact Page to schedule a consultation or inquire about pricing and packages.

By investing in professional headshot photography, you’re taking a crucial step toward building your brand and making a lasting impression. Explore the gallery of my recent work to see examples of how I help clients like you shine.

Let’s work together to create a headshot that truly represents you and opens doors to new opportunities!

Sue Steer for the Royal Institute of Chartered Surveyors

I was asked by London-based agency Sunday to visit Sue Steer at her home in Shropshire a few weeks ago to take some portrait photographs. Sue is a rural surveyor and the pictures were to accompany an article in the Royal Society for Chartered Surveyors’ Modus magazine.

Sue’s house proved incredibly difficult to find hidden as it is deep in the beautiful Shropshire Hills, Sue’s husband Martin gave me copious instructions, dropped Whatsapp pins and even sent the What Three Words reference all to no avail and finally he had to drive out to find me passing the same bemused farmer for the sixth or seventh time.

Their house was well worth the effort of finding, a 15th Century thatched cottage with an accompanying listed timber barn. It resembled a scene from Hansel and Gretel.

We spent a happy few hours taking photographs around the house, the barn and the orchards before their lovely, gentle old Collie dog joined us for the photoshoot.

A wonderful day and I was fortunate to be back in Shropshire a only a few weeks later for a very different kind of shoot, more of which in a later post.

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.

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.

Aaron Heinzelmann of Assa Abloy for Off the Wall, Stockholm

Aaron Heinzelmann Hero Award Photography for Assa Abloy

I recently photographed Aaron Heinzelmann of Assa Abloy for Swedish agency Off the Wall, Stockholm, documenting his recognition as a workplace hero for a feature in the company magazine. Aaron was awarded a hero accolade after coming to the aid of a mother and her seriously ill daughter while at work, demonstrating quick thinking, compassion, and professionalism.

Capturing a Workplace Hero

The shoot aimed to capture Aaron Heinzelmann both as an employee of Assa Abloy and as an individual recognised for his bravery. Photography included portraits, environmental shots, and a behind-the-scenes image used for the rear cover of the magazine. The shoot was collaborative, with Aaron’s uncle Dave assisting as second camera, providing additional perspectives to tell the story.

Working with Off the Wall, Stockholm

The commission was managed by the creative team at Off the Wall in Stockholm, who ensured the photography aligned with Assa Abloy’s corporate communications and magazine style. Collaborating with the agency allowed for a smooth workflow and a visually engaging representation of Aaron’s achievement, highlighting both personal narrative and professional context.

Employee recognition photography of Aaron Heinzelmann at Assa Abloy

Portrait of Aaron Heinzelmann during Assa Abloy feature shoot

Workplace photography documenting heroic actions of Aaron Heinzelmann

Assa Abloy employee feature photography in Kenn, North Somerset

Aaron Heinzelmann featured in corporate storytelling for Assa Abloy

Photography capturing heroic employee recognition at Assa Abloy

Environmental portrait of Aaron Heinzelmann for company magazine

Corporate feature photography highlighting heroic actions of staff

Aaron Heinzelmann photographed for Assa Abloy hero award feature

Behind-the-scenes photography with second camera support

On Location in North Somerset

The shoot took place in Kenn, North Somerset. Preparation included an overnight stay in a holiday cottage and a stop for tea on the seafront at Clevedon before the drive north. Capturing environmental context adds depth to the story, connecting the heroic actions of Aaron Heinzelmann to the locations where they occurred.

About Assa Abloy and Employee Recognition

Assa Abloy is a global leader in door opening solutions and security technology. The company regularly features staff achievements in its magazine, showcasing examples of initiative, care, and dedication. Photography plays an important role in this, highlighting individuals like Aaron Heinzelmann and reinforcing the company’s culture of recognition, safety, and service excellence.

Francis Lung for Scandinavian Airlines

Francis Lung Portrait Photography in Manchester

I recently photographed Francis Lung, solo musician and former member of the Manchester band Wu Lyf, for Scandinavian Airlines. The shoot focused on capturing Francis’ personality and musical presence in locations he recommends around Manchester.

Portraits at Yes and Other Manchester Locations

The portraits were taken at the venue and club Yes, one of Francis’ preferred spots in the city. The shoot combined casual and posed portraits to reflect Francis’ style, energy, and connection to the Manchester music and cultural scene.

Additional locations included the arts centre Home, the Japanese restaurant Yuzu, the Whitworth Art Gallery, and This & That, a personal favourite of mine.

Showcasing Manchester’s Music and Cultural Scene

Francis Lung’s recommendations highlight some of Manchester’s most vibrant cultural locations. By photographing him in these spaces, the shoot documents both the musician and the city, capturing the interplay between artistic identity and the urban environment. Locations like Yes and Home are central to Manchester’s creative and music culture, while restaurants and galleries like Yuzu, This & That, and the Whitworth provide context to the lifestyle and local engagement of artists.

Collaborating with Scandinavian Airlines

Scandinavian Airlines commissioned the shoot to showcase Francis Lung’s insights into Manchester and to highlight the city’s music, art, and culinary offerings. Photography plays a key role in storytelling, presenting both the artist and the locations in a way that connects audiences to the experience of visiting Manchester.

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.

Nick Freeman

It’s not everyday you get to cruise around Cheshire in a Jaguar XK120, let alone when its 28 degrees outside. Happily, they were the conditions when I photographed motoring lawyer to the stars Nick Freeman for the Sunday Times ‘Me and My Motor’ section.

We found out that classic cars don’t really enjoy idling in the baking heat, but after a bit of cooling off in the shade, we got the job done.

Ian & Andrew McMillan

A few months ago I had the real pleasure of photographing poets Andrew McMillan and his father Ian McMillan for the Relative Values feature in The Sunday Times. Spending time with the two of them was both humbling and enjoyable, and the resulting portraits reflect not just their connection as father and son but also their remarkable contributions to British poetry and culture.

I’ve known of Ian’s work from radio appearances throughout my youth and of course from his long‑standing role as the official poet of Barnsley Football Club. Born in Darfield, South Yorkshire in 1956, Ian McMillan is an English poet, journalist, playwright and broadcaster known for his warm Northern voice and distinctive Yorkshire accent. He has presented BBC Radio 3’s The Verb, written extensively for national publications, and remains deeply rooted in the cultural life of his home region.

His son Andrew McMillan is a leading voice in contemporary British poetry in his own right. Born near Barnsley in 1988, Andrew’s debut poetry collection Physical was published by Jonathan Cape and made history as the first poetry collection to win the Guardian First Book Award. Since then he has published multiple acclaimed works and serves as Professor of Contemporary Writing at Manchester Metropolitan University.

Photographing them together was an opportunity to explore both shared legacy and individual achievement. The session was unhurried and conversational, enabling us to create portraits that communicate personality, mutual respect, and the unique dynamic between two generations of writers. Much of our conversation, inevitably, turned to football — not surprising given Ian’s poetic celebration of sport and his unofficial title as Barnsley’s “Bard” — and it was fascinating to see how the everyday passions of life in Yorkshire inform both of their creative worlds.

The portraits were commissioned to accompany The Sunday Times feature, which invited readers inside the personal and professional lives of these two poets. Editorial portraiture like this goes beyond capturing a likeness; the aim is to reflect character and context, helping readers connect with the subjects on a deeper level. In this case, the images complement the written piece by conveying warmth, humour and the richness of a life spent in language.

Ian’s body of work spans poetry collections, plays, journalism and broadcasting, and he has long been celebrated for promoting poetry to wider audiences. Whether performing live, writing columns or bringing regional voices into national conversation, his career has been rooted in community and accessibility. Andrew’s work is both deeply personal and widely resonant, addressing themes of identity, belonging and emotion while winning recognition on major literary stages. The time spent photographing them offered a glimpse into how these creative lives intersect and diverge, making for a compelling visual story.

In the portraits, you’ll see expressions and gestures that hint at their personalities — Ian’s ease and characteristic humour, Andrew’s quiet intensity and reflective presence — and a sense of connection that only time spent in conversation can reveal. These images do more than illustrate a feature; they document a moment in the lives of two major voices in contemporary poetry.

It was a pleasure to be part of this project, and I’m grateful to The Sunday Times for the opportunity to shoot such thoughtful subjects.

Nadia Nadim for Scandinavian Airlines

Nadia Nadim Photography for Scandinavian Airlines | Editorial Portraits

I recently photographed Nadia Nadim, the Danish international footballer and Manchester City midfielder, for a commission with Scandinavian Airlines. Nadim’s story is extraordinary: born in Afghanistan, she fled the country as a child after her father was executed, resettled in Denmark, and went on to become a professional footballer, a medical student training to be a surgeon, and a polyglot fluent in nine languages. Meeting and photographing her was genuinely inspiring.

This commission was a collaboration with sports journalist Claire Bloomfield and Swedish design agency Off The Wall. The photographs accompany a feature in Scandinavian Traveler magazine, capturing Nadim’s achievements, resilience, and extraordinary personal journey.

Capturing Nadia Nadim: Editorial and Portrait Photography

The photography focused on portraiture and environmental shots rather than on-pitch action. The aim was to convey Nadim’s character, determination, and life story, highlighting her journey from refugee to professional athlete, her academic pursuits in medicine, and her advocacy for social issues including refugee support and gender equality in sport. Professional editorial photography in this context brings her story to life, showing her as a role model, a global citizen, and an inspirational figure beyond football. The images were designed to engage audiences, complement the written profile, and be used across social media, print, and digital publications.

Nadia Nadim: An Inspirational Life Story

Nadim’s achievements extend far beyond football. She has represented Denmark in multiple UEFA European Championships and FIFA World Cups while balancing her studies in medicine, reflecting a remarkable dedication to both sport and education. Fluent in nine languages, she uses her platform to advocate for refugees, gender equality, and social responsibility. Her experiences as a refugee, professional athlete, student, and humanitarian make her an inspirational figure whose story resonates across sports, education, and social advocacy. Capturing her in portraits allowed the photography to reflect both her achievements and her personal strength, portraying the resilience and leadership that define her career.

Collaboration with Claire Bloomfield and Off The Wall

Working alongside Claire Bloomfield and Swedish design agency Off The Wall ensured that the images complemented the editorial narrative for Scandinavian Traveler magazine. The session was carefully directed to highlight Nadim’s personality, presence, and inspirational journey, creating photographs that communicate both her character and the story behind her achievements. In editorial projects like this, professional photography supports storytelling, engages audiences, and conveys the context, personality, and impact of the subject.

Conclusion

Photographing Nadia Nadim for Scandinavian Airlines and Scandinavian Traveler magazine was a unique opportunity to highlight her achievements, resilience, and global influence. By focusing on editorial portraiture, the photography captured her inspirational story and personality rather than football action, providing a lasting visual record of her remarkable journey.

Read the full feature in Scandinavian Traveler magazine here.

Jimmy Banks for Royal Bank of Scotland

Portrait photographs of Jimmy Banks for the Royal Bank of Scotland magazine. Jimmy transformed his life through healthy eating and exercise. We shot these pictures at Worthington Lakes in Wigan, Jimmy's usual running route.

Whitworth Young Contemporaries

Portrait Photography: Whitworth Young Contemporaries

I recently photographed some of the Whitworth Young Contemporaries, a programme at the Whitworth Art Gallery in Manchester that supports emerging artists and creatives. The portraits capture the diversity, creativity, and individuality of the participants, highlighting both their artistic identity and their connection to the gallery community.

Capturing Young Artists

Portrait photography for programmes like the Whitworth Young Contemporaries focuses on personality, presence, and storytelling. The aim was to create images that are authentic and engaging, reflecting the unique qualities of each participant while providing professional material for marketing, social media, and archives.

By photographing the artists in a relaxed and creative environment, the portraits convey both confidence and curiosity, giving audiences a sense of the talent and potential nurtured through the Whitworth’s programme.

Why Professional Portrait Photography Matters

High-quality images of young artists help showcase the impact of programmes like the Whitworth Young Contemporaries. Photographs communicate the individuality of participants, illustrate the gallery’s support for emerging talent, and provide content for exhibitions, press, and online platforms.

Professional portrait photography creates a visual narrative that complements the programme’s goals, connecting audiences with the people behind the art and highlighting the gallery’s role in fostering creative development.

Conclusion

Photographing the Whitworth Young Contemporaries was a rewarding experience, providing portraits that capture the personality, creativity, and individuality of emerging artists. These images help the gallery communicate the energy and talent of its participants while creating a lasting visual record of the programme.

Victoria Jordan

Victoria Jordan photographed in Greater Manchester for Pennine Care NHS Foundation Trust and Manchester Metropolitan University

Karsten Schubert

Karsten Andreas Schubert, art dealer and gallerist, born 12 August 1961; died 30 July 2019

Alistair Hudson

Portrait of Alistair Hudson, Director of Manchester Art Gallery and The Whitworth

I photographed Alistair Hudson, director of Manchester Art Gallery and The Whitworth, during the opening of Alison Wilding’s exhibition at the Whitworth in February 2018. The exhibition, including her work in the Wyoming series, brought together gallery staff, artists, and visitors to celebrate one of the most significant contemporary sculpture presentations at the gallery in recent years. The Wyoming works exemplify Wilding’s exploration of material, form, and spatial relationships, making this exhibition a key moment in the Whitworth’s programme.

Alistair Hudson is a British curator and museum director with a long career in the cultural sector, known for championing the role of art as a tool for social change and education. Before taking up the dual directorship of Manchester Art Gallery and The Whitworth, he was director of the Middlesbrough Institute of Modern Art (mima), where he developed the concept of the “Useful Museum,” positioning the institution as a centre for community engagement and artistic relevance. Prior to that he spent a decade as deputy director of Grizedale Arts in the Lake District, recognised for radical approaches to working with artists and communities. Earlier in his career he worked at the Anthony d’Offay Gallery in London and at The Government Art Collection, devising public art strategies.

During his time in Manchester, Hudson also held an honorary professorship at the University of Manchester, promoting a vision of cultural institutions as active spaces for social engagement and learning. In 2023 he moved on to become the Artistic‑Scientific Director and Chairman of the Zentrum für Kunst und Medien (ZKM) in Karlsruhe, Germany, a leading institution at the intersection of art, technology, and media.

Photographing Hudson at the opening involved capturing both formal and candid moments, documenting his presence, interactions with guests, and the dynamic environment of the Whitworth during this key exhibition launch. The images provide a visual record of the event, supporting the gallery’s marketing and archival needs while illustrating the presence and role of the gallery director.

Cecily Brown

Cecily Brown: Shipwreck drawings

This is an exhibition of a extraordinary series of drawings by Cecily Brown, of wrecked ships and their passengers. Brown’s practice of painterly interrogation of an existing image, here takes on one of the most celebrated paintings in the world; Gericault’s The Raft of the Medusa, 1819. Also taking inspiration from other Old Masters, notably Delacroix, Brown re-examines human presence, figuration and representations of maritime tragedy throughout history

17 November – 15 April 2018

Shot at the opening of Shipwreck Drawings at Whitworth Art Gallery, Manchester