My reputation is built on creativity, attention to detail, technical ability and lighting techniques. My early success was a testament to my skill. Before Photoshop, there was no opportunity to correct anything post shoot. Everything had to be correctly lit & composed. Invariably you would be shooting on colour transparency, either on a 10x8 or a 5x4 plate camera – for still life, or on 6x7 / medium format for fashion. What you exposed through the lens is what you delivered to the agency. Zero room for error.

It was imperative to fully comprehend the process of photography to be able to produce work to a level beyond that of your competitors. I became the meticulous technician and lighting specialist that I transfer to my work today. I still hate my work being manipulated. I pride myself on my ability to deliver to the highest standards. I win awards for my clients.

The day after my Audi shoot for Peter Saville, one of our countries most celebrated creative, I received one of my finest compliments. I was recovering at the top of the Peak District having climbed one of the technical routes on my mountain bike when I saw a call coming in. "Johnny, it's Peter. I just wanted to thank you for your work and say we are going to use the imagery pretty much as you captured it– great job!"

See testimonials for more kind words.

My varied portfolio stems from a plethora of ad agency commissions. The art directors' visuals mould a photographer's particular style, as do brand guidelines and clients expectations. I realised the importance of being able to respond and adapt to the clients brief. My varying genres of work and ability are born from that experience. To inject my skill set into their, the AD’s / CD’s vision, enables a unique and powerful collaboration which ultimately makes for a more successful campaign.

I have the ability to produce, shoot and edit work. Please take a look at the moving image section of my site for details.