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

 

Straight out of school at 17, I joined the lighting crew of the Prince Edward Theatre in London’s West End, on Evita, the hottest ticket in town.

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A few years later, I left the West End and 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, to operate one of 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 positioned high above the stage at Wembley Stadium on Queen’s Live Magic concert.

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As the 80s gave way to the 90s, I'd done a fair bit of networking, and gravitated towards television, and in particular, news.

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Earning my stripes in and around the political world of Westminster, I went on to join Sky News, who sent me on multiple assignments to Bosnia, and then to 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 to seasoned journalists and producers. In February 1997 they moved me to Paris 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, the party atmosphere of the FIFA World Cup came to town, and in 2000, CNN sent me to Kosovo. For the next decade, I travelled Europe working for the Americans and BBC News, and especially Newsnight and Panorama.

 

My next move was into stills photography, where I was represented by World Picture News in New York, NTI in the UK, and the Paris-based agency Le Desk.

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At the same time, I lectured in television news production at the Ecole Supérieure de Journalisme, guiding students through television news production, and mentoring them during practical assignments.

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After nearly two decades, I bid au revoir to the French, and returned to the UK. I spent 3 years working for a photographic software company, specifically to design and create their video training content, and then came COVID-19.

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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 would follow. Online's insatiable appetite requires a constant demand for high-quality assets.

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

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