Who's Stu
Stuart's guiding principle throughout his career has been that he is far better suited to life behind the camera than in front of it - a sentiment, that to this day, remains unchallenged.
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Leaving school with little to show but determination, he talked his way onto the lighting crew at London’s Prince Edward Theatre, working on Evita. This early experience went on to a role as the lighting board operator on Monty Python’s last feature film, The Meaning of Life, shot at Elstree Studios.
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He later joined Link Electronics, working with video projectors on BBC shows like The Late, Late Breakfast Show and Wogan. By the mid-80s, Stuart was part of Starvision, operating one of the world’s largest mobile TV screens for Queen’s iconic Live Magic shows at Wembley.
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Through the 80s, Stuart developed his editing skills on a basic VHS system and experimented with video cameras. As the 90s rolled around, he was working as a cameraman/editor at an independent TV facility in Westminster. Despite a challenging start, he proved himself, and two years later he joined Sky News, who packed him off on assignment to cover the Bosnian war, and to South Africa to witness Nelson Mandela’s historic election win.
In 1994, Stuart joined the Associated Press (AP) as one of two Production Directors ahead of the agency's global launch. In this role, he trained the next generation of multiskilled operators in news camera work and VT editing techniques.
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By 1997, his wish to return to the field was granted by the AP, who relocated him to Paris. Five months later, he was on the scene of Princess Diana’s accident at the Pont de l'Alma tunnel. The following year, he covered the FIFA World Cup and, as the millennium approached, embedded with CNN to report on the Kosovo conflict.
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The next decade brought further high-profile assignments: for the BBC, Stuart put to sea to cover Ellen MacArthur’s record-breaking finish to her solo circumnavigation in the Vendée Globe and went on to shoot for flagship programmes such as Newsnight and Panorama.
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Expanding his expertise, Stuart transitioned into news and editorial photography. He was represented in the UK by NTI, New York-based World Picture News also took him on, as did the Paris-based Le Desk. His work primarily focused on breaking news and current affairs for leading Anglophone publications, covering stories across Paris and beyond.
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Balancing his time between television and photography, Stuart also lectured at the École Supérieure de Journalisme, equipping students with practical skills for careers in television.
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After nearly two decades in France, Stuart returned to the UK, where he continues to pursue his passion for news and editorial photography with the same dedication that has defined his career.
