Whether they were placed into the albums in a hurry or care was taken in their construction in digitising the family archive I want to preserve the editorial decisions that were made when albums were put together. To just scan the individual photos would seem to miss an opportunity to capture and reflect on the wider story.

To establish a standard way of photographing albums and objects in as flat a light as possible I worked through a few increasingly complex set-ups until I landed on the method I plan to use.

Whatever your business you have no choice but to operate and advertise in a highly visual world.

Through websites, social media, and even hard copy promotion using images greatly improves brand awareness. It allows potential customers to better understand and build trust in your brand and the products and services you are selling.

However, using stock images might turn customers off at a time when they are already hyper-sensitive to brand trust.

Inspired by the work of another Fujifilm photographer I experimented with in-camera double exposures for the first time today during a visit to the “Cute” exhibition in London.

The results were interesting but not yet amazing. The process is the inspiration though and the experiments have got me wanting to try more.

Prompted by unearthing a large box of my wife’s school and university photos in a box in the loft I have embarked on the massive project of digitising all of our pre-digital prints.

This is quite a voyage of discovery but a slow process as I am also documenting the text on the back of each photo and, where possible, placing them on a map.

This is the first photo I remember taking and as a contemporary news artefact it was shit. But then I was only a child. Nostalgically however it serves a different purpose and as I start to scan a large family archive I am wondering whether maybe the narratives that surround this type of image are less important than simply creating the archive for new narratives to be found within it.

This week has all gone a bit ‘meta’ as I find myself colour grading a photo of someone that is, in turn, colour grading a video.

In this post I share a little of my process for retouching and colour grading images and how adding or removing colour impacts the story an image is trying to convey.

Corporate headshots need not be boring, and posing against a white, black or otherwise plain background is a missed opportunity to embed within the image a hint towards the brand of the company you work for or the ethos and attitude you want to project.

For this shoot I used the client’s distinct patterned product as a backdrop that can be replicated for their leadership team around the world.

‘Forever Autumn’ took JIm Henson’s Labyrinth and the old brick wall of a local park as inspiration for an image representing the frustrating lack of control children had during lockdown.

In this post I talk through the discovery process that led to the idea for the shoot and the design and colour theory that was applied to it.

Read about the process behind a commission from a session drummer and music teacher who wanted to tick of ‘commission personal photo shoot’ from his bucket list.

At a rehearsal studio in Surrey we created a whole range of photos to choose from that were then printed and framed by an award winning commercial printer.

A “making of” video for the Fractured Adolescence project.

This video gives a little insight into the methods employed on the project and a few glimpses into the research carried out into the adolescent brain.

Jeff Wall’s discussion of his work ‘Concrete Ball’ sent me off on a geometric deconstruction of some of his images. Exploring compositional tools more complex than rules of thirds, and also get me wondering about whether a deeper narrative is necessary in an image. Can it just be beautiful, or interesting, for its own sake?