Primarily a television news cameraman and VT editor, I worked for various national and international broadcasters. A sideways move into photography, where I signed with some of the world's more respected picture agencies.
My introduction to television news began in the all-too-murky corridors of Westminster, where I reported on daily events, upheaval, and political scandals.
From there, I temporarily joined Central TV's ‘Cook Report’, where the team exposed the socially corrupt. A while later, on joining Sky News, they sent me on multiple assignments to Bosnia and then to South Africa for Nelson Mandela's historic election victory. Back in the UK, I joined the management team of Associated Press Television News (APTN), where I kept one eye on quality control and the other, teaching novice operators the art of shooting and editing news footage.
Shedding the suit and kipper tie, APTN transferred me to Paris as a Cameraman/Producer to cover French and European headline news. I had no idea that the next chapter would last nearly two decades, but five months after I arrived, one of the most significant events I have ever witnessed unfolded: the death of Princess Diana.
In 1998, I set out on my own as a freelancer becoming a regular fixture with CNN and the BBC. The Americans whisked me off to Kosovo, and the BBC sent me out into the choppy Atlantic to look for Ellen MacArthur. During my time in France, I made many hundreds of news and feature packages, adding multiple credits when filming for BBC flagship programmes Newsnight, Panorama, and Hardtalk, along with football for ITV Sport and cultural pieces for Sky Arts.
I pivoted into corporate television, where my transferable skills helped forge long-lasting relationships with clients such as Airbus, Publicis Groupe, the Paris International Airshow, Hélicoptère et Jet, the International Boat Show, and the International Chamber of Commerce.
At this point, I added to my creative arsenal by branching into still photography, joining World Picture News in New York, NTI in the UK, Paris-based agency Le Desk, and the global library, Getty Images. The internet was fast becoming a more attractive stakeholder, with headline news and editorial features finding their way onto social media platforms. The requirement for marketing assets, branded imagery, and promotional content was definitely on the up.
In case you haven't guessed, I love working with digital assets and possess a solid understanding of where, and how best to deploy them. Online's insatiable appetite requires a constant demand for high-quality imagery, and I would be delighted to help shape your digital future.
- Social media, web content and marketing support material -