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Cards on the table; I’ve been around a bit.

Straight out of school at the age of 17, I began my working life in London’s West End as a member of the lighting crew on ‘Evita’ at the Prince Edward Theatre.

On leaving the West End, I joined a lighting hire company in Surbiton that sent me to Elstree to work on Monty Python’s 'Meaning of Life. Next, to Link Electronics in Andover, where I operated their video projection systems on the BBC’s ‘Late, Late Breakfast Show’ with Noel Edmonds, 'Wogan', and a host of ITV programmes. In July 1986, I was part of a small crew that operated the giant screen that sat above the stage on ‘Queen, Live Magic’ at Wembley Stadium.

Shortly afterward, I gravitated towards television, and in particular, news.

After a few years of working in and around the political world of Westminster, Sky News first sent me to Bosnia in 1993. I went back on several assignments. Two years later, I was in South Africa to cover Nelson Mandela’s election victory. In 1995, I joined The Associated Press (AP) as a Production Director, teaching camera and editing techniques. The AP moved me to Paris in February 1997, where five months later, Princess Diana’s car crashed in the Pont d’Alma tunnel. I was on the scene an hour later.

In 1998, I covered the FIFA World Cup, which was won by the hosts, and in 2000, CNN sent me to Kosovo. I travelled Europe working for the Americans and BBC News, Newsnight, Panorama, and HARDTalk.

A move into stills photography saw me represented by World Picture News in New York, NTI in the UK, and the Paris-based agency Le Desk, during which time I built up a decent portfolio of news and event coverage.

On the side, I lectured in television news production at the Ecole Supérieure de Journalisme, guiding students through the theory and mentoring them during practical assignments.

Once back in the UK, I worked for a photographic software company between 2016 and 2019, specifically to design and create their video training content. Then came the spread of COVID-19, followed by lockdown, during which I wrote this.

With headline news and editorial pieces finding their way onto social media platforms, the internet was quickly becoming a more appealing stakeholder. The need for branded and promotional content was increasing, so that was the route I was going to follow.​ Online's insatiable appetite requires a constant demand for high-quality assets.

 

You may have realised that I love working with images and have a proven track record of where and how best to use them.

 

Get in touch, as I would be delighted to help shape your digital future.

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