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)

Bruce Grobbelaar for 11 Freunde

A recent commission to photograph Liverpool FC legend Bruce Grobbelaar for German football magazine 11 Freunde.

A total gent who even bought me a beer at the end of the shoot, I think that’s the first time that’s happened in 20 years!

Bruce is a Zimbabwean former professional footballer who played as a goalkeeper, most prominently for English team Liverpool between 1981 and 1994, and for the Zimbabwean national team. He is remembered for his gymnastic-like athletic ability, unflappable confidence and eccentric and flamboyant style of play. He was appointed as goalkeeper coach for Ottawa Fury FC of the North American Soccer League in 2014. In March 2018 he was announced as goalkeeper coach for the Matabeleland football team. Born in South Africa, Grobbelaar grew up in neighbouring Rhodesia (today Zimbabwe), and served in the Rhodesian Army before he joined the Vancouver Whitecaps of the North American Soccer League in 1979. He gained Liverpool's attention during a loan spell at Crewe Alexandra during the 1979–80 season, and signed for the Merseyside club in 1981. Making 628 appearances for Liverpool over the next 13 years, including 440 in the League, he won the League championship with the club six times, as well as three FA Cups, three League Cups and the 1983–84 European Cup.

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.

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.

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

Luneside for U+I

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

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

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

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

Photographing Fran Millar: Cycling Leader and Former Team Ineos CEO for Rouleur Magazine

It was a great privilege to photograph Fran Millar, a highly respected leader in the world of cycling, for this month’s Rouleur magazine edition dedicated to celebrating women and cycling. The portrait session took place at her home and produced a striking editorial image that complements the feature on her career, influence, and impact.

Capturing a Moment at Home

The portrait session with Fran Millar took place in the relaxed and personal setting of her house, allowing me to create imagery that communicates both her leadership presence and her authentic personality. Photographing subjects in their own environment often produces more intimate, expressive portraits that feel real and engaging. The resulting photograph was so well received that Fran’s own mother, moved by the image, asked for a personal copy, describing it as one of the best portraits she had seen of her daughter.

Fran Millar’s Career in Cycling Leadership

Fran Millar’s career in professional cycling leadership spans more than two decades and includes pivotal roles at the highest levels of the sport. She was a founding member of Team Sky, working behind the scenes from the very beginning in 2009, and was instrumental in building the organisation’s operations, values, culture, and strategic direction. Her work with Team Sky helped lay the foundation for the team’s unprecedented success, contributing to multiple Tour de France victories and establishing one of the most dominant squads in modern cycling history.

In 2019, Millar was appointed Chief Executive Officer of Team Ineos, the successor to Team Sky after the change in ownership. In this role, she was responsible for leading the team’s operational, governance and engagement systems, ensuring continuity of performance and culture at the highest level of the sport. Her leadership was notable not just for the results but for the depth of her experience across business operations, internal ethics, team culture and strategic planning.

A Woman in a Leadership Role in Elite Sport

Fran Millar’s leadership at Team Ineos was significant not only because of the team’s performance on the road but because her role represented a prominent example of a woman leading at the very top of elite sport. Cycling, especially at the WorldTour level, has historically been male‑dominated, and Millar’s achievements helped expand the visibility of women in executive roles within the sport. Her appointment as CEO was widely recognised as a milestone that showcased how women can lead high‑performance teams, shaping organisational direction, culture and ambition at the highest level.

Beyond her work with Team Sky and Team Ineos, Millar went on to become CEO of the British heritage brand Belstaff in 2020, applying her leadership experience in cycling to the world of global fashion and lifestyle brands. Her tenure at Belstaff involved leading strategic change, driving cultural evolution and positioning the brand for renewed growth and relevance.

The Cycling Family Connection

Fran Millar’s connection to elite cycling also comes through her family. Her older brother is former professional cyclist David Millar, one of Britain’s most recognised riders with a long career in international road racing. David’s career included stage wins in major tours and a powerful presence in the sport over many years, making the Millar family name familiar to cycling enthusiasts around the world.

Portrait Photography that Complements a Powerful Story

Photographing Fran Millar in her home was not just about creating a single striking image for Rouleur magazine, but about capturing a visual narrative that complements her powerful professional story. By focusing on natural light, environment and expression, I was able to produce a portrait that feels both confident and personal, aligning with the editorial tone of the feature and celebrating her achievements.

From her foundational influence in Team Sky and Team Ineos to her leadership at Belstaff and beyond, Millar’s career reflects not only professional excellence but also the expanding role of women in sport leadership. The portrait produced for Rouleur magazine adds a compelling visual dimension to this narrative, providing readers with a genuine look at a leader whose impact resonates throughout the cycling world and beyond.

Rouleur can be found at www.rouleur.cc and @rouleurmagazine

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.

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.