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.

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.