Category Archives: Editorial Photography

The portrait photographer Richard Avedon

Posted by Richard Boll on 6th February 2023 – 5:15 pm

Photography Inspiration and Influence

When I first started my photography degree in 1996 and began to research well-known portrait photographers, I was struck by the strength of Richard Avedon’s powerful imagery, and in particular, his black and white portraits.

He was both a fashion and portrait photographer and pioneered his own signature style of black-and-white portrait photography. One project of his called ‘In the American West’ (1985) had a lasting impression on me, in that every portrait in the project was a powerful image taken of a visually interesting character.

Avedon was an extremely hardworking, prolific photographer. In his lifetime, he produced an impressive quantity of high-quality work, photographing a very wide range of interesting people including celebrities, politicians, artists, poets, and writers. His work was an incredible commentary and document of the time. It always impressed me how he managed to combine his own artistic personal projects with editorial, magazine, and commercial work. The structure of his working life was a huge inspiration for my own photography career and I attempt to follow his blueprint in my own work.

Photography was very much a part of his personal life too. He consistently took pictures of his family, and whilst traveling. These images were taken purely for pleasure and not as a commercial project. This aspect of his photography also inspired me and forms the basis for my own personal projects, such as the UK visual artist portraits that I’m currently working on.

Who was Richard Avedon?

Avedon was born on May 15, 1923, in New York City and was best known for his work in the fashion world and minimalist portraits. Starting out as a photographer for the US Merchant Marines during World War II, he took ID portraits of sailors. He then moved on to fashion, shooting for Harper’s Bazaar and Vogue. His insistence on models conveying emotion and movement was a welcome departure from the norm of relatively motionless fashion photography.

Beginning of Photography Career

Avedon attended the New School for Social Research in New York to study photography under Alexey Brodovitch, the acclaimed art director of Harper’s Bazaar. Within a year, Avedon was hired as a staff photographer for the magazine. Throughout the late 1940s and early 1950s, he created elegant black-and-white photographs showcasing the latest fashions in real-life settings such as Paris’s cafes, cabarets, and streetcars.

Portraits and Later Career

Richard served as a staff photographer for Harper’s Bazaar for 20 years, from 1945 to 1965. As well as his fashion photography, he was well known for his black-and-white portraiture. He managed to capture the essential humanity and vulnerability of larger-than-life political figures and celebrities, such as President Eisenhower, Martin Luther King, Marilyn Monroe, Bob Dylan, and The Beatles.
From 1966 to 1990, Avedon worked as a photographer for Vogue, continuing to push the boundaries of fashion photography with surreal, provocative, and often controversial images in which nudity, violence, and death often featured prominently.
Avedon always believed that the story of his life was best told through his photographs, saying: “Sometimes I think all my pictures are just pictures of me. My concern is… the human predicament; only what I consider the human predicament may simply be my own.”
As one of the first self-consciously artistic commercial photographers, Avedon played a leading role in defining the artistic purpose and possibilities of the genre.

Discover more about Richard Avedon and his iconic work by visiting The Richard Avedon Foundation.

[Article Source: https://www.biography.com/artist/richard-avedon#citation]

UK Visual Artist Portraits 2 of 4: Adam Chodzko – Conceptual media artist, YBA and Saatchi 2007 ‘Sensation’ Exhibitor

Posted by Richard Boll on 6th December 2022 – 1:42 pm

Filed under Artists, Editorial Photography, Editorial Portrait, Environmental Portrait, Fine Art Photography, Location Photography, Photography Award, Portrait Photography

UK Visual Artist Portrait Series

When I first became interested in photography and started learning about well-known artists and photographers I appreciated seeing portraits of them taken by other photographers. Initially, I might not have known who these people were, but an interesting portrait can tell a visual story and open a window into that person’s world. I found it really intriguing and was curious about why that person had been photographed in a particular way. I decided to continue this rich photographic tradition, by taking a series of photographs of well-known visual artists, currently working in the UK.

Adam Chodzko

The second set of images in this series features Adam Chodzko, a Kent-based, highly acclaimed conceptual artist working across a wide range of media, including video, installation, photography, and performance, and considered to be one of the Young British Artists (YBAs). The YBAs are a group of visual artists who are noted for shock tactics, the use of throwaway materials, and wild living. They attracted considerable media coverage and dominated British art during the ‘Cool Britannia’ scene of the 90s. Chodzko’s art relies on the viewer’s imagination and personal experience to create the meaning behind his work. Using elements of science fiction, he explores the space between documentary and fantasy, conceptualism, and surrealism. His art explores the interactions and possibilities of human behaviour by investigating the space of consciousness between how we are and what we might be.

Spotted by the art collector Charles Saatchi, he was invited to take part in ‘Sensation’, the highly controversial, contemporary art exhibition at the Royal Academy of Arts (London) in 1997. Celebrating its 25th anniversary this year, this significant exhibition drew a lot of media attention at the time and showcased work by 42 different artists, including Gavin Turk, Damien Hirst, and Tracey Emin.

The photographic concept

This time, the approach was slightly different from the previous Gavin Turk shoot, in that Adam doesn’t work out of a traditional studio. I couldn’t take shots of him working in a studio, so we focused purely on portraits. Chodzko was really good at engaging with my ideas and very clear about what would suit him. I really enjoyed the collaborative elements of this project, born from a combination of both our ideas and an open, creative discussion, that generated the final images.

1. Collaboration, crossover, and a portrait prize

The idea I had for this portrait was Chodzko being in the countryside and somehow connected with water. He then took my idea and suggested wading around in a pond holding recording equipment, because that’s the sort of thing he might do for his work. An extra element of this shot was the sound clip of the space that was produced during the shoot. You not only hear countryside sounds like birds and mosquitoes, but as we were close to a road, you also hear cars, a car stereo and a dog barking. There’s an interesting crossover between the urban and rural spaces. I requested this sound clip from the artist as it might be suitable for an exhibition of these portraits in the future. I’m pleased to report that this image went on to win third prize in the Kuala Lumpur Portrait Awards and was exhibited in Malaysia and Japan. It was great to get this extra element of exposure for this portrait.

a photographic portrait of the conceptual artist adam chodzko in a pond copyright richard boll

2. Wasteland in the future?

This portrait was inspired by ‘A Hunting Scene’ (1992) by Canadian photographer Jeff Wall. Wall’s photo is of two men walking into a wasteland from a road and they’re both carrying guns. It’s an image that has always stuck in my mind and Adam said that it was a photograph that he’d always liked. Chodzko suggested we put an alternative spin on it. Instead of carrying guns or an axe, he tied white bedsheets together and dragged them around in this waste ground off a main road between a car park and scrubland. There’s a feeling of an in-between, non-space and I hope that it’s intriguing for the viewer in that what has happened in the image is ambiguous and is left up to the viewers’ imagination.

the artist adam chodzko dragging a white sheet in whitstable kent copyright richard boll

3. Whitstable in a (Wet)Suit

Another water-themed portrait was shot in the sea off the beach at Whitstable, where Chodzko lives and works. The idea surrounding this image was that the viewer can imagine that he’s just arrived on the beach and traveled from somewhere else, perhaps the strip of land that can be seen behind him across the water. Again, it’s left up to the viewer to imagine what the back story of this image might be.

a portrait of the artist adam chodzko in the sea in whitstable kent copyright richard boll

Watch this space for features on 2 more visual artists, currently working in the UK that I’ve also photographed, Gordon Cheung and Jake Wood-Evans. Future plans include an extensive exhibition of the complete UK Visual Artist Portrait Photography Series.

Discover more about Adam Chodzko and his work by visiting his website and reading about the controversial 1997 ‘Sensation’ exhibition.

UK Visual Artist Photographic Portraits 1 of 4: Gavin Turk – artist and sculptor, YBA and Saatchi ‘Sensation’ Exhibitor

Posted by Richard Boll on 4th October 2022 – 3:31 pm

Filed under Artists, Editorial Photography, Editorial Portrait, Environmental Portrait, Fine Art Photography, Gavin Turk, London, Portrait Photography

UK Visual Artist Portrait Series

When I initially developed an interest in photography and started learning about well-known artists and photographers, I appreciated seeing photographic portraits of them in my research. Even though I didn’t know who these people were at the time, an interesting portrait can tell a visual story and open a window into that person’s world. I found it very intriguing and was curious about why that person had been photographed in a particular way. I recently decided that I’d like to continue this rich photographic tradition by taking a series of photographs of well-known visual artists currently working in the UK.

Gavin Turk

The first set of images in this series features Gavin Turk, a British-born, world-renowned international artist, and one of the Young British Artists (YBAs). The YBAs were a group of visual artists who were noted for shock tactics, use of throwaway materials, and often controversial works of art. They attracted considerable media coverage and dominated British art during the ‘Cool Britannia’ scene of the 90s.

Turk’s work deals with issues of authorship, authenticity, and identity. He has pioneered many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art-historical icon, and the use of rubbish in art. Spotted by the art collector Charles Saatchi, he was invited to take part in ‘Sensation’, the highly controversial contemporary art exhibition at the Royal Academy of Arts (London) in 1997. Celebrating its 25th anniversary this year, this significant exhibition drew a lot of media attention at the time and showcased work by 42 different artists, including Tracey Emin and Damien Hirst.

On the day of the shoot, I spent around three hours at Gavin’s studio in East London. The original concept that I had for this visual artist series was to take a range of photographs with four distinct elements depicting images of the artist and their work: behind-the-scenes studio shots, details referencing their work and processes, the artist at work (where possible) and more formal photographic portraits.

A photographic portrait of the british artist gavin turk with his signature written in the air

This image is a reference to Turk’s work on identity and the frequent use of signatures in his work and also mimics a project carried out by the photographer Gjon Mili, who photographed Picasso drawing in the air with a torch. The effect of this portrait was created by taking a long exposure of Gavin writing his name in the air with a torch and then firing a flash to expose the room in which the photograph was taken.

A double black and white photographic portrait of the artist gavin turk

This double portrait combines two photographic portraits taken in quick succession and references Turk’s artwork: ‘Portrait of something that I’ll never really see’ (1997), a self-portrait of the artist from the neck up with his eyes closed against a blank background.

An interior photograph of the studio of british artist gavin turk

A photograph of collected items on the shelves in the studio of gavin turk

These photographs of the interior of Turk’s studio provide an insight into the artist’s work and his influences. I’d like to thank Gavin for being so open to my ideas and generous with his time on the day of the shoot. It was a particular pleasure for me both to meet him and to take portraits of him. It’s also been great to see some of the images I’ve taken being shared on the artists’ website and social media platforms.

Watch this space for features on 3 more visual artists, currently working in the UK that I’ve also photographed, namely Adam Chodzko, Gordon Cheung, and Jake Wood-Evans. Future plans include an exhibition of the complete series of portraits of visual artists working in the UK today.

Discover more about Gavin Turk and his work by visiting his website and read about the controversial 1997 ‘Sensation’ exhibition here. More of my photographic portraiture can be seen here.

How I started my career as a professional photographer.

Posted by Richard Boll on 1st September 2022 – 2:53 pm

Filed under Commercial Photography, Editorial Photography, Photography career, Photography education, Uncategorised

portrait-of-the-photographer-richard-boll-in-bolivia

I’ve always loved photography. It’s been a passion of mine since I was 16 years old. I knew then that I wanted to turn my hobby into a professional career. In 2005, I realised my dream and set up as a freelance commercial professional photographer. I often get asked for advice by budding photographers thinking about turning professional. Here, I share my personal journey and answer some of those questions.

Q: How did you get into photography?
I’ve had various cameras from an early age and always took pictures, but it was only a hobby at that stage. The turning point was meeting a teacher at school who was very passionate about photography. So much so, that he set up a darkroom in the school to give students the opportunity to find out what it was like to shoot film and produce prints. I started with black and white film, using a 35-mm SLR camera and I was hooked, especially producing prints in a darkroom. It’s a bit of a cliche, but to see the image appearing in the chemicals is spellbinding when you first start printing. Producing prints in the darkroom is something I really miss now because it’s just not practical for my commercial work. Digital is far more efficient, but I miss the certain unique elements of using film that are not always carried over into digital photography.

Q: Did you do any photography courses?
I started with a City and Guilds photography course that the teacher was running. He recognised there was sufficient enthusiasm in various students to set up an A-level and I progressed onto that course. It was a very good pathway into the rest of my education along with A-level Art. That combination set me up for my Art Foundation year, which then led on to a degree in photography.

Q: How did you transition from hobbyist to professional?
When I finished my degree at Edinburgh College of Art in 1999, I got a job as a Junior Technician at the college. I then progressed to a Senior Teaching Technician role. It was a great job because teaching the technical aspects of photography is very good for your own technical grounding and personal education. Whilst working there, I started to carry out small photographic jobs on the side. I picked up work for magazines shooting portraits, food, interiors, etc. When I left to become a full-time professional photographer, I already had a portfolio and that’s something I would encourage students to think about.

While you’re studying, think about what happens next. Consider the equipment you own, because a lot of photography students finish their studies and realise that they’ve been relying on the equipment from that course. Some students don’t even own a camera, whereas other students, even though it can be challenging, save up to buy some of the camera and lighting equipment that they need before they graduate. When they leave, they’re ready to hit the ground running.
Having a findable website is really key. You’ll have your professional portfolio online and can get found for the right keywords. That’s how I started to get work.

Q: What advice would you give to your younger self?
I’d advise shooting some black and white film and using a darkroom to produce at least one black and white print. It’s central to the language and roots of photography. There’s an ethos attached to shooting film, that can get lost with shooting digitally.
For example, if you’re using a large format camera, you can only shoot one sheet of film at a time. It might take 20 minutes to take one photograph, potentially a great deal longer. It makes you think about every element more carefully including focus, exposure and composition.

When you take two hours or more to produce a print in a darkroom, it’s a more meditative thought process. I’m not saying that level of thought can’t be applied to digital photography, but when you’re shooting high numbers of images on a digital camera, it’s possible to end up shooting pictures without engaging your mind to the same extent as when shooting large format photographs. Even though I don’t shoot film throughout my working life, I still shoot film for personal projects. I still hold on to that element of extra consideration and thought that it requires. That’s why I would recommend people starting out to shoot some film and produce prints in a darkroom.

Q: What tips would you give to budding photographers?
I would encourage young photographers to hit the books and do a lot of research. I found that really beneficial to my work. During my time at Edinburgh College of Art, I spent a lot of time in the library, working my way through lots of different photographers’ monographs, getting to know their images, and also reading in these books about their work, whether it was an interview or theoretical assessment by art critics. I found all of that research really valuable.

Assisting a range of different photographers is a good thing to do because you will learn different things from different people. I believe that carrying out personal projects, as well as professional work is really important too.

I encourage students to remember that there are many different types of photography you can carry out. Most people see photography as commercial, fashion, or press, whereas there are dozens of photographic roles available. I’m an editorial and commercial photographer, but there’s a need for forensic, archival, medical, and museum photographers for example.

Q: What’s been your career highlight?
My highlight was the combination of winning the Taylor Wessing Photographic Prize in 2006, which led to a commission from the National Portrait Gallery to shoot a portrait photograph of Sir David Attenborough.

Q: What challenges have you had in your professional career?
The challenge of working as a freelance photographer is the consistency of work. You can have ups and downs with very busy periods followed by lulls. When it’s relatively quiet, I try to appreciate having that time. If you’re busy with commercial work all the time, you can’t work on personal projects and I feel that’s really important.

Q: What’s the worst advice you’ve ever been given?
I was given many reasons not to become a professional photographer, such as I’d never be able to afford the equipment or go on holiday because I’d lose all my clients. It was very negative and pessimistic advice that luckily, I didn’t pay any attention to. I’d always wanted to become a professional photographer and turn my passion into an enjoyable, rewarding career.

Read the full story of ‘The Day I Photographed Sir David Attenborough’.

Portrait Photography: The Day I Photographed Sir David Attenborough

Posted by Richard Boll on 16th June 2022 – 4:56 pm

Filed under Editorial Photography, Fine Art Photography, London, National Portrait Gallery, Portrait Photography

Sir David Attenborough by Richard Boll/ Commissioned by The National Portrait Gallery, London

In 2007, I had the privilege of taking this photographic portrait of our nation’s favourite, Sir David Attenborough, in London. Of the photographs I took I chose this particular image for the final portrait as I think it captures the calm, thoughtful, and highly intelligent nature of his character. There’s a reflective, meditative element to the portrait that I hope represents him effectively. I’m proud to say that this portrait went on to form part of the permanent collection at the National Portrait Gallery, leaving a fantastic ongoing legacy for my work and professional photography career.
Although some time has passed since that day, I can still vividly remember how I felt at the time. It was an exciting and enjoyable shoot, as Sir David was someone I had always admired and respected. People often ask how I came to take the photograph in the first place and what it was like to meet Sir David.

Joe and The National Portrait Gallery Photographic Prize

It was a lovely, sunny day on Brighton seafront. I spotted Joe, taking his dog for a walk along the promenade past my flat. I thought he looked like a very cool and interesting character and Iasked if I could take some portraits of him. Joe was very happy for his portrait to be taken and gave me a few minutes of his time. We’ve kept in touch and maintained a positive connection over the years since the photograph was taken. I entered this portrait of ‘Joe’ into the prestigious Taylor Wessing Photographic Portrait Prize, awarded annually by the National Portrait Gallery. The competition celebrates and promotes the very best in contemporary portrait photography. It was very exciting to be awarded first prize in the competition. I knew I’d been shortlisted but only found out that I’d won on the evening of the prize-giving.

Prize-winning photographic portrait of Joe on Brighton seafront

Britain’s Greatest Living Cultural Icon

After winning the portrait prize, the National Portrait Gallery arranged a special opportunity for me, to take a photo of the winner of a public vote for ‘Britain’s Greatest Living Cultural Icon’. 10 British icons including the likes of David Bowie and Sir Paul McCartney were shortlisted. The public voted overwhelmingly for Sir David Attenborough, and I’m pleased to say that I also voted for him. Thankfully, he agreed to be photographed after the result of the poll was announced. On the day of the shoot, he was extremely polite and very generous with his time. He patiently allowed me to take several portraits against a couple of different backgrounds.
I’m incredibly proud of the final image and people respond well to it, recognising what I was trying to capture of Sir David’s character and legendary status. There was never any guarantee that the portrait would be accepted for the permanent collection at the National Portrait Gallery which makes me particularly proud that it was sufficiently well-received to be accepted, ensuring a great ongoing legacy for my work.

Sir David Attenborough awarded Knight Grand Cross

Sir David Attenborough needs no introduction, enjoying a very distinguished broadcasting career, spanning the last 60 years when he
first joined the BBC.

Best known for writing and presenting his many acclaimed television documentaries exploring the natural world, including Life on Earth, The Living Planet, and The Blue Planet, he received his first knighthood in 1985 from the Queen.
In recent news, Sir David, now 96 years old, received a ‘second’ knighthood, the even more prestigious Knight Grand Cross from Prince Charles. Attenborough is one of only 120 people with this honour, which was awarded for his services to television broadcasting and
conservation. Let me end with some final words from Sir David himself, “I just wish the world was twice as big and half of it was still unexplored”.

Click here if you’d like to read more about Attenborough and his career, and more of my portrait photography can be seen here. Signed, archival-quality prints of the portrait can be purchased here.

Sill life photography: Bespoke shoemakers John Lobb showcase their 170-year history with inspirational wooden last photographs

Posted by Richard Boll on 6th June 2022 – 12:54 pm

Filed under Editorial Photography, Fine Art Photography, London, Product Photography

For over 170 years, John Lobb have been hand crafting bespoke, exquisite, and elegant footwear and leather goods. The world-renowned family-run business spans five generations, receiving its first Royal Warrant in 1863. The firm still produces unique and bespoke handmade shoes to this day one pair at a time. Today, they’re loved for what they’ve always stood for: the celebration of the unique and the original.

john-lobb-wooden-lasts-of-frank-sinatra-by-richard-boll-photography

At the heart of their process is a pair of unique hand-carved, sculpted wooden lasts, custom-made to the precise form of the customer’s feet. If you walk into their shop for some custom shoes, their master craftsman will draw around your feet to produce the wooden last. They can then continue making shoes to your exact specification using this bespoke last.
Every pair of shoes produced for a customer of John Lobb goes through a 50 hour, 190 step process. Their experienced fitters will discuss the endless possibilities that only truly bespoke footwear can provide. Every single element is carefully considered, resulting in a creation that is truly unique.

john-lobb-wooden-lasts-of-jacqueline-kennedy-onassis-by-richard-boll-photography

Not only are these wooden lasts beautiful sculptural objects in their own right lending themselves perfectly as the focus for still life photography, but they are also historical artifacts of a unique and fascinating legacy. Since 1849, John Lobb has nurtured an impressive range of famous clients over the years from royalty to household celebrities.
I first became aware of the collection of lasts from their historically significant customers whilst on a shoot for a magazine. I thought that the lasts would make a great subject for a photographic project and approached the owners of John Lobb to ask if I could begin photographing them. I was consequently granted exclusive access to shoot the collection of famous people’s wooden lasts.

Studio furniture photography of the CROP outdoor seating range for Allermuir

Posted by Richard Boll on 2nd November 2021 – 5:17 pm

Filed under Advertising, Editorial Photography, Furniture Photography, Product Photography, Studio Photography

The CROP range of outdoor furniture was designed for Allermuir by Benjamin Hubert of Layer. The design was named after the rolling fields of crops in the British countryside; represented in the parallel lines in the chair’s designs. The range is distinguished by its stackable steel rod frame, with robot-welded wires forming the seat and backrests. The line took 12 months to develop and comes in the wake of a challenging year.

“This connection with the natural world allows the collection to sit sensitively in an outdoor context, relating each piece to its surroundings through a shared visual rhythm,” explains Allermuir. “This relationship between the product and the great outdoors is enhanced by the dynamic interplay of light and shadow produced as the sun moves across the linear graphic structure.”

It was a privilege to be asked to produce a range of new photographs for Allermuir to capture the originality and elegance of the furniture. I carried out the studio product photography in the summer of 2021, and the well-received images have been used for a huge range of editorial applications. The images ranged from still life product photography of the chairs, as well as some photographs that were more lifestyle in nature. More of my product and furniture photography can be seen here.

Art directors: Abigayle Clayton-Grimshaw, Matt Ousby, Katie Anderson and Andy Barker.
Assistant: Scott Hobson-Jones

studio-photography-for-allermuir

studio-lifestyle-photography-by-richard-boll

Studio furniture photography of Circo chair and Play Storage for The Senator Group

Posted by Richard Boll on 20th July 2021 – 1:48 pm

Filed under Advertising, Advertising Photography, Commercial Photography, Editorial Photography, Furniture Photography, Product Photography, Studio Furniture Photography, Studio Photography

It’s always a pleasure to be commissioned as a product photographer to produce original images of new and innovative designs. The Senator Group has an ethos of innovation underpinned by beauty; a concept that is clear and present in all of the designs that they offer. I was commissioned to take studio furniture photography of two new furniture designs for The Senator Group that included the Circo chair (designed by Justus Kolberg) and Play Storage (designed by Senator’s in-house team). The product photography produced had editorial and advertising potential that creatively expressed the qualities of the designs. More of my product and furniture photography can be seen here.

Art directors: Edward Jonson and Carla Birtwistle
Assistant: Scott Hobson-Jones

Portrait and Product Photographer for Burgundy Producer Olivier Bernstein

Posted by Richard Boll on 14th July 2020 – 12:55 pm

Filed under Advertising, Editorial Photography, Environmental Portrait, Location, Publications, wine photography

As someone who loves a good glass of Burgundy, it was a pleasure to be commissioned as a product photographer to carry out a shoot for a wine producer in Beaune in the Burgundy region of France.

The photography was commissioned by the creative agency Anew and it was to produce images for the great wine producer Olivier Bernstein. The images were for website and editorial use, and included mostly product photography and some portrait photography.

Though it was a quick visit to Beaune, less than 24 hours, it was a productive shoot and the client was delighted with the results.

More of my still life product photography can be found here and more of my portrait photography can be found here.

Commissioned Still Life and Portrait Photography for J & A Beare, London

Posted by Richard Boll on 14th April 2020 – 6:31 pm

Filed under Corporate Photography, Editorial Photography, Editorial Portrait, Environmental Portrait, London, Product Photography

J & A Beare are an internationally-renowned musical instrument dealer based in London and Germany. Their reputation has been built over 125 years of authenticating, valuing, making, restoring and selling musical instruments and bows.

They recently asked me to provide them with portrait photography of their members of staff as well as interior photographs of their premises on Queen Anne Street in London. I first took photographs of J & A Beare in 2015 for Rolls Royce Magazine, and it was wonderful to be back in the calm, quiet spaces of their premises. It’s an amazing experience to look inside the workshops where the beautiful instruments are lovingly restored by their expert craftsmen. As well as the portraits and interiors, the commissioned photography also included still life images of the instruments and bows that are being repaired and that are for sale.

More of my still life photography can be seen here and more of my portrait photography can be seen here.