some answers to
a few questions I'm often asked by bands and their representatives,
and fellow photographers too. Excuse the amount of info! I've tried
to cover everything in an open manner. Feel free to ask me personally,
I'm always happy to answer, but if you'd rather not get in touch just
yet then this page may help...
What is the whole start to finish process
of working with you?
Who owns the rights to the final images?
How much do you cost?
Who have you photographed?
What equipment do you use, and why?
What is a live composite image?
And finally...(a really egotistcial
is the whole start to finish process of working with me?
It usually starts with an email, text message, a phone call, or sometimes
a chat at a gig. If there's a brief or any ideas to discuss then we'll
arrange a meeting to chat it through. If it just a straight forward
portrait / promotional shot required then we'll find a date in our schedules
for a shoot. I always send a message a day or two before the date to
make sure all is good to go with any specific arrangements or details.
Leading up to the shoot I'll make any preparations and test shots, and
keep you updated if necessary. This makes the actual shoot a stress
free experience, always relaxed and good natured.
After the shoot I'll develop the film and scan a set of images which
I'll upload to my Dropbox online, and give you a private link for viewing.
If there is a tight deadline I can do this within a couple of hours
if necessary. However that does come at an additional cost and you'll
need to tell me beforehand so I can set up my equipment and chemicals.
I usually process all the films from all my recent shoots on one day
during the week. As I can usually process several films at the same
time it is more time effective for me this way (and so cheaper for the
client). Therefore, depending on the shoot date, it can take up to a
week to see the images, but sometimes just a day.
From the images uploaded there will be one in the set that will have
some processing for colour and contrast to give you a rough idea of
the final look. The rest will essentially be 'unprocessed straight from
camera'. Once you have chosen the images you want me to finish properly
it usually takes me another two or three days to complete. All images
will be corrected for colour and contrast and have some basic retouching
if required. Another set of websized images will then be uploaded to
the Dropbox for you to see. If all is well I'll then forward my payment
details and upload the full resolution files for you to download.
owns the rights to the final images?
After I have received your full payment for the finished images
you commissioned me to create I will grant you license to use those
finished images for any commercial or promotional use, just as you would
be able to if you held the copyright yourself. This licence covers all
territories (throughout the universe!), lasts forever, and may be sold
/ transferred to another party too.
However, I will always retain the actual copyright in the images I create,
mainly (but not limited to) so that I may freely use my right to be
known as the creator of the image, the right to exhibit my work including
online, in printed portfolios and in galleries, the right to freely
use my work in any publication to promote my work and the right to include
the image in any collection of my photographs published for commercial
gain. One day I may release a book to pay for my retirement!
This enables you to fully profit from the images I create for you and
allows me to work for a fee much lower than I would otherwise be comfortable
much do I cost?
My general pricing aims for a shooting and processing profit to me of
£10 per hour, which I hope you'll see as being a very reasonable
cost for my time. I like to offer a scaleable service which is affordable
for anyone serious about their career, whether just starting up and
in need of one or two press shots for initial publicity purposes, or
whether they are more established and planning a commercial release
with an accompanying promotional campaign. I am included in The
Unsigned Guide Survival Guide offering a discount for members on
my time of 25%.
All prices are for finished images to be delivered as image files only
(jpg, tif, etc.). Photographic prints can be supplied for an additional
Most of my work can be categorised under portraiture, live shows and
documentary, or creative image making in general... sometimes incorporating
Creative imagery commissions...
For creative commissions I always work to a pre-determined budget, working
out a way to make every aspect of creating the final image idea possible,
whatever the finances available. I am used to working with budgets ranging
from as little as £100 to significantly more. Please feel free
to forward me any idea briefs and I'll put together a plan for your
These rates are based on a standard one hour session in my home studio
space near Littlehampton using either a digital 35mm camera or on Kodak
Portra 400 film (either 135/35mm or 120/6x6cm size). The costs shown
remain the same for daytime, evening or weekend shoots. Studio shoots
elsewhere are priced at the same base rate plus studio hire, extra time
and travel costs. Location shoots are priced at the same base rate plus
any location fees, extra time and travel costs.
One finished image (colour/contrast corrected with standard retouching)...
Two finished images (as above)... £70.
Three finished images (as above)... £90.
Four finished images (as above)... £110.
Five finished images (as above)... £125.
* Please note these prices relate to quick and therefore relatively
simple set-ups offered as a low cost but high quality option. For images
that require a more significant creative involvement (such as set design
or location scouting / test shooting, or additional post production,
etc.) then I will need to agree a budget beforehand (see Creative imagery
commissions above). Remember these prices are for ONE roll of film.
If you feel you'd like more shots to select your final images from then
additional rolls are charged at £15 each.
Live & documentary (behind the scenes, etc.)...
Photography of on stage action and general crowd / atmosphere
shots (please note I am NOT a club style people photographer). Also,
behind the scenes shots and stills on video shoots, etc.
I have photographed a huge variety of gigs from large festival stages
and big venues like Brixton Academy, to small capacity rooms in basement
clubs and all shapes and sizes in between. I have worked for bands,
magazines, websites and venues... from well known national publications
such as Rock Sound magazine, commissioned several times for print publication
(including double page spreads) and web galleries... to international
branded venues such as more recently for Brooklyn Bowl, in London's
02 Arena complex. I have photographed behind the scenes at video shoots,
and music studios at recording sessions too.
As each client has different photography requirements (amount of images,
for print or web use, advertising or editorial, etc.) a price will need
to be tailored to suit. It can range from as little as £20 for
a small set of shots for a band at a local gig to significantly more
for something like large scale composite images at a large venue. On
occasions I am happy to shoot for websites and some magazines in return
for advertising space.
(back to top)
have I photographed?
Mostly guitar bands of a touring level, some very well known, and others
more underground. The underground rock / metal / punk / alt / indie
scene is one I have been very much involved with. Have a look at my
archive page to see a list of
bands that I have images available to see.
I'm always interested in working in other genres to expand my horizons
and I'd be keen to hear from actors / actresses, models too.
(back to top)
equipment do I use and why?
My main requirements with any equipment is that it should work reliably
in the way I expect it to, with the settings I have chosen, in the conditions
I am working under, and that the final image created is of a certain
quality as envisaged in my mind.
I have chosen my equipment carefully over several years so it suits
the way I work, the kind of photography I like to do, and feels nice
to use. This allows me to concentrate on making photos, and not be distracted
or hampered in any way by the gear I'm using. Consequently my equipment
is not new, some of it is VERY old (!), but rarely has it let me down,
if ever. Here is my current selection of cameras/lenses that see regular
Most of my portraiture is done using film cameras, particularly older
vintage equipment. Many people ask "why?" when a digital sensor
is capable of creating images with higher resolution and greater dynamic
range. Well, when it comes to photographing people, film works well
enough, even better in my opinion because it has a look and feel that
is ultimately less clinical and more... "human". Some of the
lenses are specific to the older cameras. I spent much of 2014/2015
running film and digital cameras together on shoots and the film shots
were nearly always chosen by clients over the digital images. Of course
digital files can be made to look like film with various computer applications
but that just seems rather contrived to me, adds even more steps to
the digital workflow, and isn't always fully convincing anyway. Besides,
if it is a film look you want then why not just use REAL film? For many
decades the world's most iconic images were captured that way! My favourite
film to use is Kodak Portra 400.
Of course, I do use a digital camera too. Its main use is to aid me
with lighting setups and to give some immediate feedback to a client
on set. I also use my digital camera for live work when a quick turnaround
of images is more of a priority (to catch an early morning review deadline
I am a great fan of natural perspective in portraiture so my preferred
lens choice is nearly always based around the 50mm focal length on 35mm
full frame cameras (or the equivalent size on other formats). I do use
wider angle lenses such as my 24mm Sigma (pictured below - 2nd from
the left) for full length portraits when seeing more of the background
is preferred but I rarely use it when the subject is close.
For closer portraits with a wide angle lens I like to use my vintage
Jupiter 12 lens (4th from left) as it has a protruding rear element
design that minimises image distortion for a more natural look. Shown
either side of that is the collapsible Industar 22 lens (the silver
one) which gives a vintage look, and the Jupiter 8 lens which I love
for its classically smooth bokeh with circular highlights. Both those
lenses offer a standard angle of view. These older lenses have a lot
of character that their modern equivalents lack. As you can see they
are also significantly smaller (like the cameras they fit on to!)!
Of course, modern lenses have their benefits, especially when there
is a need for a camera with autofocus. I use the Canon 50mm pictured
far left and the Sigma 30mm pictured far right on my Canon EOS cameras.
The Sigma gets used a lot for live work as it has a wide aperture of
f1.4, which comes in handy when shooting in dark venues. I rarely use
flash in a live environment, using it on just a handful of occasions
over the years.
All of my cameras serve a purpose. Together they give me the ability
to use a huge range of photographic equipment from classic era to modern
retro to contemporary technology. I am always looking for ways to enhance
my options and my next addition is likely to be a 6x6 medium format
SLR. Here's my current camera lineup...
Nikon F3 (35mm film SLR)
The F3 is one of the most popular manual focus professional 35mm SLRs
ever made, in production for over 20 years all through the 1980's and
90's and into the 21st century. During it's heyday the Nikon F3 was
very popular among photojournalists and its reliability under extreme
conditions saw it used extensively by war photographers and even by
NASA astronauts too. Not only is it a superb tool capable of doing absolutely
everything a photographer should ever need it to do, but it is also
a design and manufacturing work of art, with silky smooth controls and
a feel of precision.
It's main advantages to me are it's 100% viewfinder (removable too),
easy multiple exposures, timed exposures, mirror lockup, it's ability
to use nearly every type of Nikkor lens made, and battery power that
lasts months. It is also much smaller than most pro-level cameras so
is good for carrying around without making me look "overdressed".
By adding the motordrive the camera turns into another beast altogether.
The sound it makes powering the film onwards is iconic. No other camera
sounds the same! It is a great tool and good fun to use too!