On board the Fugro Synergy for BP

By far the best thing about working as a professional photographer is the variety of the work. The camera can gain you access to environments that are wildly different each shoot day and if you’re lucky, can sometimes take you to some incredible and unexpected places. One of the most interesting of my shoots in 2022 was an assignment from bp to photograph the crew and workings of the Fugro Synergy while on a recent stop at Liverpool docks.

The Synergy Modular Drilling Unit is a unique geotechnical vessel capable of delivering

high quality geotechnical data. Its design, standards and capacity make it an efficient

platform for geotechnical investigations and scientific drilling in challenging and remote offshore marine environments.

The shoot focussed on the Synergy’s role in sea bed core sampling, determining the sea bed composition to ensure that the sea bed substrate was capable of providing solid foundations for the siting of an array of wind turbines.  Sea bed composition is critical, mud, sand or silt that is too soft and uncompacted will not provide a firm enough foundation, while solid rock is impossible to drill to the depths required for the footings.

EnBW with EnBW and bp are leading the development of the Morgan and Mona – two offshore wind farms in the Irish Sea. Roughly located 30km from shore between the north coast of Wales and the Isle of Man the total area of the two farms will be 800 square kilometres – about half the size of Greater London and when complete the farm will generate 3GW of energy – enough to power an astonishing 3.4 million UK homes.

These projects are helping to achieve the UK's ambition of generating 50GW of power from offshore wind by 2030.

Fugro Synergy’s Party Chief, Jim Bridge

School of Digital Arts (SODA) Opening at Manchester Metropolitan University – Event Photography

The opening of the School of Digital Arts (SODA) at Manchester Metropolitan University marked an important moment for creative education in the UK and for the cultural life of Manchester itself. Designed as a centre for innovation in digital storytelling, film, animation, photography, sound, gaming and immersive media, the new SODA building represents a major investment in the future of the creative industries.

Events like this are significant not only for the institutions involved but also for the wider cultural landscape of the city. Documenting them through professional photography ensures that these moments are preserved as part of Manchester’s evolving creative history.

A Major Milestone for Creative Education in Manchester

The new School of Digital Arts at Manchester Metropolitan University was created to bring together students, researchers and industry professionals working across digital and creative disciplines. Located in the centre of Manchester, the building provides purpose-built studios, production spaces and collaborative environments designed to support the next generation of filmmakers, photographers, designers and digital artists.

The official launch event attracted an impressive range of guests from politics, film and music. Among those attending were Peter Mandelson, Andy Burnham, Oscar-winning director Danny Boyle, and Manchester musician and composer Barry Adamson.

Their presence highlighted the importance of the project and the role that institutions like SODA will play in shaping the future of digital creativity in the UK.

The Importance of Photographing Cultural and Institutional Events

Photography plays a vital role in documenting events that mark significant moments for universities, cultural organisations and cities. While speeches and announcements define the official narrative of an event, photography captures the atmosphere, the people and the interactions that bring those moments to life.

Images from the opening of a new building or institution quickly become part of an organisation’s visual archive. Years later they are often used in publications, exhibitions, press features and anniversary retrospectives. A well-observed photograph can communicate the significance of an occasion instantly, providing a visual record that will remain relevant long after the event itself has passed.

Professional event photography also allows institutions to communicate their identity and ambitions. In the case of the SODA launch, the photographs reflect the collaboration between academia and the creative industries, the architectural identity of the building, and the sense of energy surrounding the new school.

These visual narratives help organisations present themselves to prospective students, partners and the media.

Capturing the Atmosphere of the SODA Launch

The opening event for the School of Digital Arts was filled with moments that reflected both the prestige of the occasion and the creative spirit of the institution. Guests explored the building’s studios and digital facilities, viewed demonstrations of student work and spoke about the future of creative education in Manchester.

From a photographic perspective, events like this require careful observation and an ability to anticipate moments before they happen. Conversations between prominent figures, reactions from audiences during speeches and informal interactions between guests all contribute to the visual story of the event.

Alongside documentary images of people, the architecture of the SODA building itself also becomes an important subject. The spaces in which creative work will take place in the future are part of the narrative of the launch, providing context for the institution’s ambitions.

Manchester’s Role in the Creative Industries

The opening of the School of Digital Arts reinforces Manchester’s reputation as one of the UK’s most important creative cities. For decades the city has been a centre for music, film, television and digital media, producing artists, filmmakers and innovators whose work has had international impact.

Institutions like SODA strengthen that ecosystem by providing students with direct connections to industry and access to the technology shaping the future of storytelling. The launch of the school represents another step in Manchester’s continuing evolution as a hub for digital creativity.

Photographing events connected to these developments contributes to the broader visual history of the city. Images captured at these moments become part of the record of how Manchester continues to reinvent itself as a centre for culture, media and innovation.

The Role of the Event Photographer

Photographing high-profile events requires a combination of documentary awareness, portraiture skills and editorial judgement. The photographer must be able to move through the event discreetly while remaining alert to moments that reveal the significance of the occasion.

The most effective images often emerge from small details: a conversation between guests, the expression of an audience listening to a speech, or a quiet moment that reflects the atmosphere of the room. These photographs collectively build a visual narrative that goes beyond simple documentation.

For universities, cultural organisations and public institutions, this kind of visual storytelling is essential. Photographs from launch events, conferences and cultural gatherings are used across websites, publications, press releases and long-term promotional campaigns.

Preserving the Beginning of a New Chapter

The opening of the School of Digital Arts at Manchester Metropolitan University marks the beginning of a new chapter for creative education in the city. It brings together technology, storytelling and artistic practice in a way that reflects the direction of modern media industries.

Photographs from the event help preserve that moment. They record the people who were present, the atmosphere of the launch and the sense of anticipation surrounding the new institution.

In years to come, these images will remain as part of the visual history of both the university and the city of Manchester, documenting the moment when the School of Digital Arts opened its doors and began shaping the next generation of creative talent.

Event Photography: Princess Anne Visits The Station, Bristol | UK Youth Commission

I was commissioned by UK Youth to photograph the visit of Her Royal Highness Princess Anne to The Station, a youth centre located in Bristol. The visit showcased UK Youth’s ongoing programmes supporting young people across the region, highlighting educational initiatives, community engagement, and opportunities for youth development.

Photographing high-profile events such as this requires precision, discretion, and professional planning. From capturing key interactions to documenting the environment of The Station, the aim was to provide a comprehensive record of the visit suitable for press releases, social media, organisational archives, and promotional use.

Documenting Royal Visits with Professional Photography

Royal visits present unique opportunities and responsibilities for photographers. Beyond formal protocol, photography must capture interactions, expressions, and moments that demonstrate the impact of the visit. At The Station, Princess Anne met young people, engaged with staff, and observed educational and creative activities. Each of these moments contributes to the visual record of the day, illustrating the work of UK Youth and the centre’s role in supporting youth engagement in Bristol.

Effective photography of royal visits requires balancing visibility and access with sensitivity. Images must respect privacy and protocol while clearly showing the purpose and outcomes of the visit. Capturing these moments with professional clarity ensures that both the organisation and the wider public can understand the significance of the event.

Capturing the Work of UK Youth

UK Youth operates across the UK to provide programmes that support young people’s education, skills development, and personal growth. Documenting events like the Princess Anne visit enables the organisation to showcase its impact. Photographs of staff interacting with participants, young people attending workshops, and community activities provide tangible evidence of the programmes in action.

These images serve multiple purposes. They are used in press materials, annual reports, newsletters, social media, and fundraising campaigns. Professional photography ensures that every key moment is preserved, creating a visual narrative that supports organisational objectives while accurately reflecting the event.

Bristol as a Centre for Youth Programmes

The Station in Bristol is a hub for youth engagement, offering spaces for education, mentorship, and community activities. UK Youth’s work at The Station contributes to the broader goal of increasing opportunities for young people, particularly in areas such as personal development, STEM education, and creative programmes.

Photographs from high-profile visits help communicate this work to the public. Images of participants interacting with Princess Anne, engaging in workshops, or presenting projects provide insight into the centre’s daily operations and achievements. For residents, stakeholders, and potential supporters, these photographs are a clear demonstration of the organisation’s positive impact.

The Role of Photography in Royal and Organisational Events

Professional event photography is essential for organisations like UK Youth. Well-documented events communicate credibility, professionalism, and transparency. Capturing royal visits requires careful planning: from the timing of key moments to framing images that reflect the significance of the visit.

Images must balance documentary and editorial objectives. Portraits of dignitaries, interactions with participants, and wider environmental shots all contribute to a comprehensive visual record. These photographs not only provide immediate use in press and marketing but also serve as a long-term archive for the organisation.

Preserving a Professional Record of the Visit

Princess Anne’s visit to The Station represents an important moment in UK Youth’s ongoing programmes. Photography captures the formality of the royal engagement alongside the everyday interactions that demonstrate the organisation’s work in action.

A well-documented visit supports organisational storytelling. By providing a clear, professional visual record, photographs help convey the impact of UK Youth’s programmes to funders, stakeholders, and the wider community. They also ensure that this significant visit is preserved for historical reference, reflecting both the importance of the royal engagement and the role of The Station in Bristol’s youth development landscape.

Why Event Photography Matters for UK Youth Programmes

High-quality photography is more than a record; it is a communication tool. For UK Youth, professional photography of events such as royal visits:

• Demonstrates the success and reach of programmes

• Enhances press coverage and social media engagement

• Supports fundraising and stakeholder reporting

• Creates a historical archive for future reference

As an event photographer, documenting these occasions provides a lasting visual record that communicates professionalism, scale, and the tangible outcomes of youth initiatives. The images help organisations like UK Youth build trust with partners and supporters, showing the real-world impact of their work.

Conclusion

Documenting the Princess Anne visit to The Station, Bristol, was an important professional assignment that highlights the role of photography in capturing institutional, community, and educational milestones. Through careful composition, attention to detail, and respect for protocol, these images provide UK Youth with a long-lasting visual record that communicates both the significance of the visit and the organisation’s ongoing work.

John Junior for Samaritans

Photographing Mental Health Advocate John Junior for Samaritans

I recently had the pleasure of photographing John Junior for the Samaritans, capturing his work as a mental health activist and advocate. John uses his platform to educate others about mental health challenges and to promote awareness of support services.

John Junior’s Work in Mental Health Awareness

In 2019, John Junior began vlogging about his own experiences with mental health difficulties on Instagram, aiming to reach out to others facing similar challenges. His candid and personal approach helped to connect with young people and adults alike, offering insight, guidance, and reassurance. In May 2020, his vlogs caught the attention of UNILAD, who invited him to test the Samaritans self-help app during Mental Health Awareness Week and contribute to campaigns around World Suicide Prevention Day on 10 September 2020.

The DBT for All Campaign

Following his work with Samaritans, John helped promote the "DBT for All" campaign, created in September 2020 to make dialectical behaviour therapy more widely available on the NHS. DBT is a clinically recognised therapy used to treat children, teenagers, and adults who are suicidal or demonstrate self-destructive behaviours. Through the campaign, John helped raise public awareness of the importance of accessible mental health treatments in the United Kingdom.

Speaking Out and Breaking Stigmas

John Junior speaks publicly about living with mental health conditions and has given interviews on television, radio, and in print internationally. His advocacy focuses on breaking down the stigma around mental health, providing education, and encouraging open conversations about emotional wellbeing. Photography plays a key role in documenting and promoting this work, helping to communicate his message to wider audiences.

Supporting Samaritans’ Mission

The Samaritans organisation provides vital support for anyone struggling with mental health issues or suicidal thoughts. Collaborating with John Junior on this photography project allowed me to visually contribute to their ongoing campaigns and highlight the importance of mental health awareness. Capturing these moments reinforces the human stories behind advocacy work and the significance of accessible mental health support services.

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.

Lillian and Fidaa for Asthma UK - British Lung Foundation

Documenting Asthma UK and British Lung Foundation’s Clean Air Campaign

It was a privilege to meet and photograph Fidaa and Lily while supporting the British Lung Foundation and Asthma UK’s important campaign for clean air. The campaign highlights the dangers of air pollution, particularly for children living with respiratory conditions like asthma.

Lily, who is nine years old, has experienced breathing problems since she was a baby. Her asthma is exacerbated by exposure to air pollution, a reality that her family only fully understood after borrowing an air quality monitor from the British Lung Foundation. The results revealed regular spikes of nitrogen dioxide that were up to 50 per cent above EU legal limits, even near parks and roads that seemed safe.

The Impact of Air Pollution on Children with Asthma

Children spend significant time at school, yet many are exposed to high levels of traffic-related air pollution during drop-off and pick-up times. For families like Lily’s, these invisible pollutants pose a serious risk to health, particularly for children with asthma. The campaign calls for measures such as creating ‘school streets’ that restrict traffic near schools, planting more trees, and increasing green spaces to improve air quality.

Parents and communities are demanding more action from politicians and local authorities to protect children’s lungs. Initiatives such as petitions, local advocacy, and monitoring air quality play a crucial role in raising awareness and implementing change. The experiences of Lily and her family illustrate the real-life impact of air pollution on children’s health and wellbeing.

Supporting Clean Air Initiatives

The British Lung Foundation and Asthma UK are working to improve air quality and reduce the risks associated with pollution for children and adults with respiratory conditions. Campaigns like these demonstrate the need for cleaner, safer urban environments and highlight how community action can influence policy and infrastructure. Photography helps to document these campaigns, giving a human face to public health advocacy and showing the urgency of creating healthier spaces for children to live, learn, and play.

By capturing moments like these, the campaign raises awareness and engages wider audiences, reinforcing the importance of clean air for everyone, especially vulnerable children like Lily.

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.

Adidas Superstar Awards

Adidas Superstar Awards Event Photography at Adidas UK Headquarters

I was commissioned to provide professional event photography for the Adidas Superstar Awards, held at the Adidas UK headquarters. The Superstar Awards are an annual ceremony where Adidas Europe recognises the outstanding contributions of its staff, celebrating achievements across teams and departments. This high-profile corporate awards event brings together employees from across Europe to highlight excellence, commitment, and innovation within the company.

Providing photography for an event of this scale is always rewarding, but working for a globally recognised brand like Adidas adds a unique dimension. Adidas is not just a sportswear company; it is a brand with significant cultural influence. Its impact stretches across sport, music, fashion, and lifestyle, making it one of the most aspirational and respected brands worldwide. Being involved in documenting their events allows me to connect with a company whose reputation for innovation and quality is synonymous with excellence in global culture.

Corporate Event Photography at Adidas

The Superstar Awards combine formal presentations with social and celebratory moments, creating ideal conditions for corporate event photography. Award presentations, stage ceremonies, and staff recognition moments provide opportunities for structured imagery, while candid interactions, networking, and celebration offer a natural, documentary style. These photographs capture both the achievements being celebrated and the energetic atmosphere of the event.

Events at Adidas UK headquarters are particularly well-organised, providing a professional environment with high-quality lighting, staging, and design. This allows for high-quality images that can be used for internal communications, social media campaigns, corporate reporting, and marketing materials. Documenting such an event contributes to Adidas’ broader brand narrative, showing both the recognition of staff and the brand’s commitment to excellence.

The Significance of the Superstar Awards

The Superstar Awards are an important part of Adidas’ corporate culture. They reinforce the company’s commitment to recognising talent and rewarding excellence across Europe. From a photography perspective, capturing these moments is about more than documenting trophies being handed out—it’s about reflecting the company’s values, professionalism, and culture.

Adidas’ influence extends far beyond corporate achievements. The brand has shaped sportswear innovation, influenced music and street culture, and consistently collaborated with designers and artists to push boundaries in fashion and lifestyle. Photographing events for a company with this kind of global recognition allows me to contribute to their visual legacy and document a brand that resonates culturally and professionally.

Why Working with Adidas is Distinctive

For a photographer, working for Adidas is both rewarding and prestigious. The brand carries cultural and professional authority that few companies can match. Their products are of high quality, their events are carefully executed, and their staff embody a dynamic and creative ethos. Being associated with a brand of this stature reflects positively on the work itself, enhancing the perceived value and reach of the photography.

The Superstar Awards event was managed by the professional team at TOL Events, whose coordination ensured the evening ran smoothly. This level of organisation, combined with the high-profile nature of Adidas as a global brand, provides the ideal context for professional, high-impact event photography.

Capturing Staff Recognition and Corporate Culture

Event photography for Adidas is not simply about recording awards; it is about capturing moments that tell the story of the brand, the culture, and the people behind it. From winners’ reactions to team interactions, candid photographs convey energy, engagement, and the celebratory atmosphere of the Superstar Awards. These images form part of Adidas’ visual identity, used in corporate communications, online campaigns, and internal reporting to showcase excellence and achievement.

By documenting the Superstar Awards, I contribute to a record of one of the most influential brands in sport, fashion, and culture. Each photograph not only highlights the award recipients but also reflects the professionalism and prestige that make Adidas a global leader.

Mark Radcliffe for Art Fund

Photography for Art Fund Podcast Recording at the Science and Industry Museum, Manchester

I was very pleased to be asked to contribute still photographs for a forthcoming episode of the Meet Me at the Museum podcast produced by the Art Fund. The episode features broadcaster Mark Radcliffe and musician Paul Langley as they explore the galleries of the Science and Industry Museum in Manchester.

My role was to photograph the recording session and create a set of images documenting the presenters’ visit to the museum. These photographs accompany the podcast and provide visual material for promotion, editorial use and online publication.

Mark Radcliffe and Paul Langley at the Museum

Mark Radcliffe is widely known for his long career in broadcasting, particularly through programmes on BBC radio devoted to music and culture. I have photographed Mark a couple of times before, once memorably for a Daily Telegraph motoring feature in which he appeared alongside a vintage Volkswagen Beetle at Tatton Park in Cheshire.

On this occasion the setting was rather different. Together with Paul Langley, Radcliffe toured the Science and Industry Museum while recording their discussion for the podcast. The format of the series combines informal conversation with reflections on objects, exhibitions and cultural history within museums across the UK.

Exploring Manchester’s Musical History

During the recording we spent time in the exhibition Use Hearing Protection, which explores the formative years of Factory Records between 1978 and 1982.

Factory Records played a crucial role in shaping Manchester’s musical identity during this period. The label became internationally recognised for its roster of influential artists, including bands associated with the city’s post-punk scene, while also developing a distinctive visual language through collaborations with designers and photographers.

The exhibition at the Science and Industry Museum examines how Factory Records combined music, graphic design, technology and cultural experimentation to create a unique identity for Manchester. Through artefacts, recordings and archival material it tells the story of a label whose influence continues to shape perceptions of the city’s creative history.

Photographing Podcast Production in a Museum Environment

Photographing a podcast recording inside a museum presents its own set of challenges. The aim is to document the interaction between presenters and exhibits without disrupting the recording process or the experience of other visitors.

The images from the session capture Mark Radcliffe and Paul Langley in conversation as they explore the exhibition space, reflecting both the atmosphere of the gallery and the informal tone of the podcast itself. These kinds of photographs help audiences visualise the context of the recording and connect the spoken discussion to the objects and stories within the museum.

Listening to the Podcast

The Meet Me at the Museum podcast series invites well-known figures to explore museums around the UK and share their reactions to exhibitions and collections. The conversations offer a relaxed way to discover museum spaces through the perspectives of artists, musicians and broadcasters.

You can listen to this episode and other recordings from the series through the Art Fund website:
https://www.artfund.org/whats-on/meet-me-at-the-museum

Further information about the exhibition Use Hearing Protection can be found here:
https://www.scienceandindustrymuseum.org.uk/whats-on/use-hearing-protection

Sheila Anderson for Samaritans

Portrait Photography for Samaritans | Sheila Anderson and Suicide Prevention Training

Earlier this year I had the privilege of meeting and photographing Sheila Anderson on behalf of the charity Samaritans. The portraits were created as part of a campaign highlighting the impact of the organisation’s Managing Suicidal Conversations training and the difference it can make when people feel confident enough to reach out and support someone in distress.

Sheila had taken part in the Samaritans’ training programme while working for the railways. The course is designed to help people recognise signs that someone may be struggling and to provide practical guidance on how to begin a conversation that could help someone find support.

A Conversation That Made a Difference

Not long after completing the training, Sheila encountered a situation where those skills proved invaluable. She was on her way to do her weekly shopping when she noticed a young woman in visible distress.

Trusting her instincts, she stopped the car and approached carefully, beginning a conversation in a calm and open way. The simple act of asking a compassionate question helped interrupt the woman’s immediate thoughts and allowed a dialogue to begin.

Sheila later described the moment in her own words:

“Around the beginning of last year, I was on the way to my weekly shop when I came across a young woman in floods of tears. I stopped the car and slowly approached her. I asked, ‘Has something happened to bring you here today?’ and I could tell that instantly broke her thoughts. She told me her name and said she was struggling to cope as she wasn’t able to get the support she needed.”

Through patience and conversation, Sheila was able to encourage the woman to move to a safer place and seek help. Her willingness to stop and talk potentially saved a life.

The Importance of Training and Awareness

The Samaritans’ Managing Suicidal Conversations training programme aims to give people the confidence to respond when they encounter someone in crisis. Rather than feeling unsure about what to say or do, participants learn how to approach situations calmly, listen without judgement and guide individuals toward appropriate support.

Stories like Sheila’s illustrate how important these skills can be. Often it is not specialist professionals but ordinary members of the public who first encounter someone in distress. Having the confidence to begin a conversation can create the opportunity for someone to step away from immediate danger and find the support they need.

Photographing Stories of Compassion and Support

For this assignment my role was to create portrait photographs that could accompany Sheila’s story in the Samaritans’ communications and campaign materials. Portrait photography for charities often focuses on authenticity and clarity, allowing the subject’s experience and message to take centre stage.

In situations like this the aim is to create images that feel approachable and human, reflecting the compassion and empathy at the heart of the story being told. The photographs help audiences connect with the individual behind the story, reinforcing the real-world impact of the organisation’s work.

Meeting Sheila and hearing about her experience was a powerful reminder of how small actions – a conversation, a moment of attention, a willingness to stop and listen – can make an extraordinary difference.

Jimmy Egan's and the unlikely tale of the Gypsy King

In 2016 I began a project focussing on Wythenshawe, the vast council estate where I was brought up and whose reputation very often precedes it for all the wrong reasons. I had no knowledge or interest in boxing, yet I found the idea of photographing a local amateur boxing club compelling. Despite knowing that Wythenshawe’s ‘rough’ reputation existed more in the minds of the Mancunian bourgeoisie than in reality, it played neatly into the idea of the violent working class council estate in a way that I felt I could play off and use as juxtaposition.

The idea of entering a hyper masculine environment full of sweating men smashing each other in the face while I minced about with a camera getting heckled by a gang of rough-necked 8 year olds did give me pause, but despite this I contacted Steve Egan the head man at Jimmy Egan’s Boxing Academy - the club set up by his late father. The academy was housed in the gym of Crossacres Primary School, a mere stone’s throw from my Mum’s house.

Now, I’ve heard a lot over the years about how boxing is good for young lads as it teaches respect but I’d always taken that with a pinch of salt, unconvinced that a combination of violence and discipline were the ideal route to that goal.

What I realised about 15 minutes after walking into the room was that I was in one of the most fraternal, respectful and supportive environments I’d been in to that point and still have to this day. It was practically magnetic. After an hour I was contemplating starting training there myself. Whether that was down to some magic in boxing’s DNA or a collective psychology Steve Egan and his fighters could gather around a boxing ring I’m still not sure.

I photographed men slamming their fists into the heavy bags, young lads doing sit up repeats, hand written motivational signs, tatty posters of famous fighters. I was sticking around waiting for the sparring session to end, the 18 year old in the centre of the ring, longish wavy hair, a little podgy was sweating heavily as a result of the bin liner he wore under his vest. Steve told me with some pride and no little confidence that this lad would one day become the heavyweight champion of the world.

As I’d not been to a boxing gym before I assumed that this was standard form, the best guy there is always going to be the next Klitschko, the next Mayweather, the next Ali. He’s going all the way. He’s going to make it. The local boy‘s gonna make it to the big time. Sure, Steve. I stuck around anyway.

I got some pictures with this lad and his Dad and I had to admit that if nothing else he certainly had a great fighters name, Tyson Fury.

The Wythenshawe project fizzled out, I was photographing worthies in the area, council workers, housing association staff. It wasn’t representative of the place I’d grown up and I lost interest. I kept an eye on Jimmy Egan’s though, they’d lost their home at Crossacres and after a perilous hiatus found themselves a new gym in the heart of Benchill, the badlands of the estate, a place where Steve’s magic would be valuable and gratefully received.

Tyson Fury I forgot about until one day I saw a newspaper article announcing that he’d become British heavyweight champion. Not world champion, but remarkable nonetheless. I followed his progress pretty closely after that, right up to Klitschko - the unbeatable champion - when he made the prophecy come true. Heavyweight Champion of the World.

I wrote him off again a few years later when he was at 28 stone, mentally and physically ruined, the road back looked too long, things had moved on. It was a glorious career but it had ended in ignominy.

And yet again he returned, some weak warm-ups until still badly out of shape he unfeasibly met Deontay Wilder, the man with a cannon for a right hand, surely it would end now? And yet he beat him and beat him and beat him again until he stands atop the heavyweight division with no peers, no doubters. The greatest heavyweight champion of his generation.

The moral of the tale? Good things happen when you put the work in, and never right off Tyson Fury.

Brades Farm for the Financial Times

I had an informative and enjoyable day at Brades Farm near Lancaster shooting pictures for an article about the ecological impact of dairy farming for the Financial Times.

Father and son farmers John and Ed Towers add Mootral - a garlic-based supplement - to their cows feed, reducing the methane emissions from their (the cows) profuse flatulence by 20% and lowering the environmental impact of the farm by 10%.

Thanks to Ed and John for the comprehensive tour, the coffees and the much needed lend of the wellies.

You can read the article, ‘How methane-producing cows leapt to the frontline of climate change’ here: t.ly/Q8T8 (subscription required)

European Geophysical Services

Commissions for HTP Digital always take me to interesting locations, none more so than this recent shoot to capture images for the new website of European Geophysical Services.

Established in 1994, EGS are a leading borehole geophysical logging and video surveying company providing a large range of measurements and services to the water, environmental, mining and geotechnical industries.

I visited on a calibration day, a rare event when all of the vehicles and equipment return to their home base in Shropshire for testing, inspection, recalibration, cleaning and repair. A few weeks later I joined a the engineers on a site visit, inspecting underground aqueducts for blockages, contamination and physical condition. As a former Physicist and Measurement Engineer, it was fascinating to learn about the techniques and methods by which these investigations are carried out, despite the first two hours being photographed in a torrential downpour!

Travelling the country to often remote, inhospitable climes, off roading in modified Land Rovers to get there and doing science in the great outdoors. There are worse ways to make a living.

Cloud Studies by Forensic Architecture

Event Photography: Cloud Studies by Forensic Architecture | Whitworth Art Gallery, Manchester

I recently photographed the opening of Cloud Studies by Forensic Architecture, currently on display at Whitworth Art Gallery as part of the Manchester International Festival. The exhibition presents a powerful investigation into the politics, dynamics, and consequences of toxic clouds, from chemical dispersals to herbicides and smoke, highlighting their impact on communities, environments, and urban spaces.

Cloud Studies was originally created for the exhibition Critical Zones: Observatories for Earthly Politics at ZKM Centre for Art and Media in Karlsruhe. Alongside the physical installation, the project is also accessible via the virtual exhibition platform, offering multiple perspectives on how clouds, both literal and metaphorical, shape and are shaped by social and political forces.

Photographing the Exhibition Opening

Documenting exhibitions like Cloud Studies requires attention to detail, context, and the conceptual framing of the work. At the opening, I captured the interaction between visitors and the installation, as well as moments from the curatorial introduction and discussions with the artists. Photography in this context provides a professional record for press, marketing, and digital archives, while also helping audiences engage with the critical and often challenging themes of the work.

In exhibitions addressing complex and politically charged subject matter, event photography plays a key role in communicating the atmosphere of the exhibition, the scale and detail of the works, and the audience’s engagement with them.

Understanding Cloud Studies

Forensic Architecture’s Cloud Studies investigates the mobilization of toxic clouds across scales, durations, and geographies. Tear gas is used to disperse crowds in protests, white phosphorus and chlorine gas are deployed in cities to spread terror, herbicides are sprayed from airplanes to displace populations, and fires are set to erase forests for industrial plantations. These clouds, deployed by state and corporate powers, demonstrate the entanglement of environmental and political violence.

The project challenges traditional forms of analysis by highlighting that “every contact leaves a trace.” Clouds are not only transformations of air, smoke, and chemicals—they are dynamic systems governed by complex, nonlinear, and multi-causal processes. Forensic Architecture traces these invisible dynamics, making the intangible visible and measurable.

Photography as a Record of Critical and Experimental Art

Professional photography is essential for exhibitions that operate at the intersection of art, research, and activism. In Cloud Studies, capturing the installation, its visual elements, and audience interaction helps convey the conceptual depth and urgency of the work. Photography preserves both the formal qualities of the artwork and the experiential response of the visitors, providing a lasting record for the artists, the gallery, and future audiences.

Photographs of installations like Cloud Studies also help bridge physical and virtual experiences, allowing online audiences to understand the spatial, visual, and political dimensions of the work.

The Epistemological Dimension of Clouds

Historically, clouds have posed challenges for painters and artists, often moving faster than artistic techniques could capture. Today, toxic and politically charged clouds operate on both physical and epistemological levels. Climate denial, chemical attacks, and industrial pollution create uncertainty and confusion, requiring new ways to observe, document, and respond.

Cloud Studies positions the viewer in relation to these dynamics, and through photography, we can translate the abstract and diffuse nature of clouds into a visible, comprehensible form. Images document how audiences experience the installation and how the exhibition communicates critical insights about environmental and political crises.

Conclusion

Photographing Cloud Studies at Whitworth Art Gallery allowed me to capture the intersections of art, research, and social investigation central to Forensic Architecture’s work. These images provide a professional record of an exhibition that interrogates how clouds—chemical, environmental, and epistemological—shape our world, and how art can make these forces visible, tangible, and actionable.

Leeds City Station for Transport for the North

Another great assignment for Transport for the North this time at Leeds railway station.

Transport for the North exists to make the case to central government for increased transport spending in the North of the country and I’m proud to be able to contribute in some way to that necessary and long overdue aim. To use the existing infrastructure is to see it’s limitations, the age of the rolling stock, the lack of capacity a general sense of a system neglected and lacking the requisite investment over many years.

To photograph these environments deserted or very sparsely populated as they currently are is an eerie experience as we’re usually fighting through a sea of people to reach our locations and seeing the networks struggling with the shear volume of commuters. Perhaps seeing the network in this disrupted state gives us a glimpse of what a properly invested in network would look like, reliable, punctual, spacious. We certainly have the people - if not the finance or political will - to make it happen.

All power to Transport for the North and the staff that keep us moving.

Bradley Dreha for Dwell Magazine

When Bradley Dreha revamped his bedroom he decided to post before and after pictures on TikTok. The results were so good that San Francisco based design magazine Dwell got in touch to ask him for an interview.

Dwell then asked me to visit Bradley at his home in Walton, Merseyside to photograph him and his room for the latest issue of the magazine.

You can see more of Bradley’s work on Instagram @shitprints2

Dwell magazine can be found at dwell.com

Travel in the time of Covid. An assignment for Transport for the North

Another great assignment for Transport for the North this time looking at the transport infrastructure in Liverpool and Sheffield and how it was dealing with the impact of Coronavirus.

Transport for the North exists to make the case to central government for increased transport spending in the North of the country and I’m proud to be able to contribute in some way to that necessary and long overdue aim. To use the existing infrastructure is to see it’s limitations, the age of the rolling stock, the lack of capacity a general sense of a system neglected and lacking the requisite investment over many years.

To use and photograph the network in these strange virus-disrupted times could have been expected to be a pretty depressing process, but the remarkable resilience and adaptability of both the staff and those using public transport during this period was heartening and impressive and made the shoots extremely enjoyable despite some occasionally catastrophic weather conditions - the story of a Northern photographers life!

These assignments marked my first commercial foray into video making as I made some short video sequences at each of the locations the schedule. I’m please to report that these sequences are being used along with my photography in recently released promotional and campaign materials.

To photograph these environments deserted or very sparsely populated as they currently are is an eerie experience as we’re usually fighting through a sea of people to reach our locations and seeing the networks struggling with the shear volume of commuters. Perhaps seeing the network in this disrupted state gives us a glimpse of what a properly invested in network would look like, reliable, punctual, spacious. We certainly have the people - if not the finance or political will - to make it happen.

All power to Transport for the North and the staff that keep us moving.

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.