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.
A couple of years later, I joined a lighting hire company that sent me to Elstree Studios for a fortnight to work on Monty Python’s 'Meaning of Life’. On joining Link Electronics in Andover, 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 ended up as part of a small crew that operated the giant screen on ‘Queen, Live Magic’ at Wembley Stadium.
Shortly afterward, I got into television. In particular, news.
In 1993, I first went to Bosnia for Sky News. Two years later, I was in South Africa to cover Nelson Mandela’s election victory. In February 1997, I moved to Paris to work for the Associated Press (AP), 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 (see the photo page).
On the side, I lectured in television production at the Ecole Supérieure de Journalisme, guiding students through the theory and mentoring them during practical assignments.
Back in the UK, between 2016-2019, I worked for a photographic software company, specifically to design and create their video training content. Then came the spread of COVID, 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 of 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.
I would be delighted to help shape your digital future.