Product Photography, Lancashire

Product photography doesn’t always need to be on white. On white images are required by a number of e-commerce platforms, such as Amazon, and unfortunately, many clients assume it’s the norm.

Car Photography, Burnley

I enjoy all aspects of my work, but there are two genres I think are my favourite subjects to shoot. Vehicles and food. With automotive photography, I really enjoy the challenges of large vehicles such as lorries and buses or coaches etc. But I actually enjoy photographing any vehicle, from a truck, right down to a motorcycle, and anything in between.

Fashion Photography in Lancashire

Fashion photography can be a funny old thing. You meet with the client and they have a good grasp of what they want. They want the detail to show, and the quality to stand out. Great, that means they aren’t going to go for that full on flat lit look, so often seen on their competitors websites. Something to look forward to.

Food Photography in Burnley, Lancashire

This was the second shoot with Hazel for her client, Kenanks in Burnley.

Headshot Photography for the Photographer

Meet Damien McGlade, photographer and a long time friend. Although he did scare the hell out of me when I first met him. But that’s another story.

Food Photography for Kenanks of Burnley

This image is from a shoot whilst supporting Hazel Riddle during a food shoot for her client, Kenanks of Burnley.

Product Photography on White, for Fennel UK

Fennel UK manufacture door furniture, predominantly for the leisure industry such as caravans and boats.

Food Photography, Burnley

These were actually taken almost three years ago, for Ninos, an Italian restaurant in Cliviger.

Clarke Carlisle – Foundation for Dual Diagnosis

Meet Clarke Carlisle, ex professional footballer and founder of the charity, Foundation for Dual Diagnosis. My brief was to take a few location portraits, which were to be more than the usual corporate headshots. Something a little different.

Product Photography – Perspex Signs

  As products go, these signs had their own set of challenges. The main thing I wanted to preserve, was the three dimensional nature and depth of the acrylic. The numbering was quite pronounced within the plastic, and I wanted to make sure that was obvious to the viewer. What I didn’t want, was any glare or flaring caused by the highly polished perspex.

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