Workplace imagery for a business that wanted its own space to carry the story, rather than a stock library approximation of it.Shot on location and lit to hold the timber and the floor together, with the frame kept clean enough to sit behind copy on a careers page or a report cover.

A workspace shot straight down onto the desk, the whole room reduced to timber, chair and screen.

Above The Desk

A straight packshot, lit so the gloss on the body reads as gloss and the detail in the black still holds.If you are selling high quality products, you need high quality product photography to show them at their best. Clean white packshots like this one are built to work everywhere at once: catalogue, trade sheet, website and marketplace listing.

A salon dryer and its nozzles lit clean on white, ready to drop straight into a catalogue or a product listing.

Haito 4600

A product shot that had to do more than describe the machine: it had to show what the machine does, in one frame, without a person in it.Set up in the studio and lit for the pour, so the stream stays legible against the brushed steel and the colour comes through the glass.

Juice caught mid pour from a cold press, the machine held sharp behind a moving stream.

Cold Press

PR and corporate imagery works best when it looks like the job actually being done. This was photographed in the room, with the daylight left in.Pictures like this earn their keep across a press release, a recruitment page and a LinkedIn feed, which is usually why a shoot gets commissioned in the first place.

A technical team gathered round a screen, shot on site as a working moment rather than a line up.

On The Bench

Studio portraiture for a brand that needed one strong image rather than a set of variations.Lit tight on a grey ground so the colour does the work, and framed with enough room around the subject to crop for a banner, a cover or a square social post from the same file.

A studio portrait against grey seamless, everything given over to the cut of the jacket and the hair.

Electric Blue

A range shot is a lighting problem before it is anything else: nine bottles, nine different labels, one exposure that has to keep all of them readable.Built on set in the studio, with the glass lit to stay dark and the labels lit to stay bright, so the line up reads as a family rather than nine separate photographs.

Nine craft ales lined up and lit so every label reads, shot as a single frame for a range listing.

Bottle Line

Polished steel is the hardest thing to photograph well, because it reflects the room it is standing in.Shot on a graduated ground with the reflections controlled rather than removed, so the blades still look like metal instead of a flat grey shape.

Salon shears and comb suspended on a graduated magenta ground, lit to hold the polish on the steel.

Shears

Food does not wait. A plated dish has a few minutes before it stops looking the way the kitchen intended, so the lighting is built before the plate arrives.Shot low and close with the texture kept intact, for a menu, a website and the press pack that goes out with it.

A plated dish photographed the moment it left the pass, styled close and lit to keep the texture.

On The Pass

An ingredients flat lay built to be cropped: square for social, wide for a page header, tall for a recipe card, all from one frame.Arranged and lit in the studio so every element keeps its own colour and nothing falls into shadow at the edges.

Chilli, tomato, lemongrass and star anise laid out on a board, shot flat for a recipe spread.

Mise En Place

Exterior architecture shot at the point where the sky still has colour in it and the interior lights have come on, which is a window of about twenty minutes.Framed to use the water, so the building is delivered twice in the same picture. Interior and exterior work like this is commissioned by architects, developers and the organisations that occupy the building.

The Ron Cooke Hub at dusk, the whole facade handed back by the water in front of it.

Ron Cooke Hub

A group portrait that avoids the row of people against a wall. Placing the three at different depths gives the picture somewhere to go.Shot outside their own building in direct sun, using the glass behind them rather than hiding from it.

Three colleagues placed across a deck in hard afternoon sun, the building left in the frame behind them.

Three On The Deck

A team picture with an idea in it. Shooting from above turns the seating into a graphic and gets four faces into the frame without a back row.The kind of image a PR story runs with because it is not the photograph every other company sent in that week.

Four people around a low table shot from directly above, the chairs and the floor doing the composing.

Round Table

Some PR work is reportage and some of it has to be made. This was built on a set, lit cold on the stonework and warm on the candle, and directed frame by frame.Commissioned to give a story a picture that editors would actually run.

A costumed set piece lit blue and candle warm, built for a press story rather than a record shot.

Bailey-Cooper Photography, commercial photographer and video studio in York