Category Archives: ProFiles

Fixation ambassador Jack Terry is a successful lifestyle and advertising photographer and works with high profile brands such as Audi, Nintendo and Lenovo. We caught up with Jack recently and put some questions to him.

© Jack Terry

How did you get into photography?

Ironically my parents bought me a Canon SLR as a graduation present. My degree was in product design, so photography was a bit of a sidestep. I started off photographing people on the ski slopes in France. I would follow them for half a day on my snowboard and photograph their group. Tim Henman booked me to photograph his family skiing one day, which was a laugh.

So you didn’t study photography, did you assist?

No I am self taught. I worked in a studio for a while and part time as a graphic designer to pay the bills while I built my client base. I think there are definitely pros and cons to both routes into the industry. I can get envious of friends who have built a lot of knowledge through assisting, but not assisting allowed me much more time to shoot work for myself, so I guess its swings and roundabouts.

© Jack Terry

Your work all involves people, but how would you describe yourself as a photographer?

I am a lifestyle photographer, working predominantly in advertising and my work revolves around my fascination of observing people. When I shoot, I constantly look to portray the emotions of everyday life and ensure that there is a narrative behind my work. To create a natural feel in my images I rarely pose people, instead photographing real actions and movements. This helps to capture true expressions and ensures my images never feel staged. My briefs usually come from advertising and creative agencies and can be anything from global campaigns to image libraries or social media content.

© Jack Terry

Does lifestyle photography take much planning?

My aim is for my work to have a candid, documentary look to it, but to achieve this always takes a lot of production. I always shoot on location, so that forms the biggest hurdle usually. There are normally multiple models who require hair, makeup and styling, then the rest of the crew, agency and clients who need food, warmth and transport. There is all the kit that needs power and you might be shooting on public land, so that needs a permit. I have a great team around me though, so it’s a pretty slick operation.

What equipment do you usually use?

My standard camera system is Canon and my lights are Profoto. Image capture and post production is done through Capture One and Photoshop. As every job is different, additional kit is hired in as required. A Canon 5DS is my go to camera and I have two 5D Mk. III’s in the bag too. I tend to shoot on either a 35mm, 50mm or 100mm L series prime, but have a variety of zooms as well. I use medium format when required, but find even the new cameras a bit slow for my style of shooting.

My lighting system is made up of multiple Profoto B1’s and D1’s and I love the speed and versatility of having lithium batteries in the B1s. I use quite a lot of modifiers, but my favourite for its ability to replicate sunlight is the Profoto Magnum reflector. When it comes to digital, all my kit lives in a customised Peli case that has laser cut foam to house the different drives, readers, tablets and batteries etc. Capturing, backing up and safely storing data when shooting commercially is vital, so the process has to be bombproof. I have serious OCD with how my kit is stored and everything has its own case or bag which are usually Peli or Thinktank.

© Jack Terry

To what extent do you rely on Fixation for your work?

Fixation support me massively, whether it is with rental for a specific job, or to hire some equipment to test out a new concept. It is also brilliant knowing they stock all of my equipment in rental, so if anything breaks I don’t need to be without while it is being repaired. Not that it ever takes more than a couple of days anyway. I am interested in having a go with all the new video kit that is coming in to stock too.

Looking at the iconic brands you’ve worked with in the past, are there any that stand out as being particularly memorable?

I have shot quite a few celebrities for brands, but one person who stood out as the most amazing was the explorer, Sir Ranulph Fiennes. He is an absolute inspiration and has spent his life putting himself through situations that you wouldn’t think were physically possible.

© Jack Terry

Are there any brands you’d particularly like to work with in the future?

I am always keen to work with brands that have an ethical and social conscious. Advertising is very powerful, so it’s nice to create work for brands that use their power for good, rather than purely financial gains. Patagonia and their recent Black Friday campaign are a great example of this.

You shoot a lot of personal work, what is the reason for this.

When you shoot commercial work there are usually so many interested parties that the creative can get compromised. By shooting personal work it is all down to me. I come up with a concept, then produce it and fund it, so there is nowhere to hide. Personal work lets me explore ideas and test techniques that I can then filter into my commercial work. I find art buyers are much more interested in viewing personal work, so that is almost entirely what makes up my portfolio.

© Jack Terry

What was the thought process behind your latest project, Little Rascals? 

Little Rascals is a documentary study of a children’s charity called Oasis Play. I used to live opposite the playground and always thought it would be a stunning location to shoot. I wanted more images of children for my portfolio and I liked the idea of it just being me with a camera, no crew and no mountain of equipment. As a thank you I gifted the charity a set of 500 images to help with their promotion. You can see the whole project here, it definitely brings a smile to the face.

Are you working on any other personal projects currently?

I have a couple of ideas up my sleeve, the last one was kids, so maybe the next one will involve animals! I am also thinking of dedicating a whole week to shooting 5 totally different tests over 5 days.

© Jack Terry

How much does video feature in your work, and how important do you think it will be going forward?

Video is massive and getting bigger all the time. I can’t remember a shoot where there wasn’t a video element involved. I am not that interested in operating the camera myself, but love directing. I am flying to Spain soon to direct a video for a hotel chain, which should be good fun.

Jack was speaking to Tim Stavrinou. You can see more of Jack’s work on his website www.jackterry.co.uk and follow him on Instagram @jackterryphoto

Jon is an established photographer and well known for the exclusive access he is granted. His area of expertise is to follow his subject intently, be it an individual or situation, and document the whole story, returning to his subject over and over again.

We recently caught up with Jon in the Fixation showroom and asked him about his work.

© Jon Nicholson

How did you first get interested in photography?

I can’t really remember to be honest. I would take pictures with a friend for fun, climbing around the old Battersea power station in the late 70’s and processing film in the bath, with not much success! Then I got into windsurfing and that’s really when I thought I would give it a whirl and start taking pictures, as I loved – and still do – going to the beach, stormy clouds etc… that would have been around 1980.

© Jon Nicholson

You worked a lot in the sports industry before concentrating on the more intimate, behind-the-scenes work. How did that transition come about?

Following on from above, once I got the bug I would really study the great photojournalists of the time; the obvious names like Don McCullin etc., thinking I should do this in sport. My old pal Damon Hill then got the drive at Williams F1 and I suggested that we should do a book showing what life was really like for a top sports personality. I showed Damon a book by Walter Iooss on Michael Jordan called Rare Air. It’s a brilliant book and is a great guide to shooting a behind the scenes story with somebody as huge as Jordan. That was 1994 and Damon was racing with Ayrton Senna after a year with Prost. Ayrton got killed and Damon became huge. Following that, a lot of sporting teams asked me to do projects with them. After a while I wanted to move into other areas and my strength was getting access and putting long term projects together, plus I started to read the newspaper covers and wanted to shoot more global issues, so off I went, working with papers like the Guardian, Observer and Mail on Sunday.

© Jon Nicholson

You work a lot with aid agencies, covering current affairs. Do you find you have to disassociate your personal feelings when photographing in these situations, or would that be detrimental to your work?

I spent years working with UNICEF from New York to Africa, covering stories on HIV/AIDS, conflict and post conflict stories, so I saw some stuff.  I am by no means a war photographer but in that part of the world during the 90’s there was some fairly nasty things going on and you couldn’t help but be affected by it. I would wear my sunglasses all the time and that gave me a barrier, but there comes a time when it gets to you. I was going to Darfur to shoot a project with the UN and and was the only guy allowed in there at the time. I wanted to shoot this in a different way so I was going to do a series of digital composite images. The Sunday Times magazine were going to run it and I had an exhibition planned in the west end, but before I went, my daughter Maisy had said to some friends we were lunching with that I was going to Darfur to get Shot!!! At that point I decided that I had to stop that kind of work. I did almost get shot and very nearly got caught up in a very nasty life ending situation. So to answer your question – yes, but also no; you are there because of the person you are and how you work and interact with the scene. I don’t think I was any different as a person.

© Jon Nicholson

Any interesting projects that you’re working on at the moment?

Yes, I’m working on a three year project which is on Working women in Asia. It’s for a corporate client from Singapore, all in black and white as well which I love. Travelling throughout Asia at my own pace at different times of year and doing what I want….how lucky am I in this day and age?!! This finishes in March next year so as a freelancer it’s time to get the thinking cap on. About 90% of my work is self generated and I’m fortunate enough to get funding for it.

I am also starting a semi-fictional piece of work in the footsteps of my father, based around St Tropez and Southern Spain and using digitally manipulated images. It’s about adoption – something close to my heart as I was adopted at three days old. I know my mothers side of my background and even know my birth Uncle. Sadly my mother is no longer alive, but at least I have a great deal of info, and I know my father’s name and age and where he came from.

I tend to buzz around a few projects at one time.

© Jon Nicholson

You’ve been a customer and friend of Fixation’s for a long time. How much do you rely on us for your work?

Well Bob Martin told me to go to Fixation in about 1986 and I have been coming to you ever since. I am a Leica M user and over the years have relied on Fixation, mostly when using Nikon and you are an essential tool in my toolbox. Fixation gave all of us professional photographers what we needed and still need do – and now you supply Leica I will be continuing my long friendship with you all!  We are a lonely bunch and it would great if you had a bar! We could all get together and talk rubbish to each other.

© Jon Nicholson

You still shoot film for some of your work. Do you feel this gives you an edge by effectively slowing you down?

I don’t think it gives me an edge, but I think it reiterates my passion for what I love to do – take pictures. Yes it slows you down and makes you think about the image you are making. Our industry, as we know, has been murdered by digital technology but without knowing how to shoot film how can I work digitally properly? It makes my work better. Plus I use the Leica Monochrom 80% of the time and that puts me in a mental state of shooting film, popping in the old Tri-X or HP5. Shooting both is brilliant! waiting for the negs to comeback from Metro and that excitement of seeing what I got or missed is a thrill in itself. Whilst writing this I am working in Sri Lanka shooting on my Hasselblad 503 and FP4 (plus my Leica’s).

© Jon Nicholson

When we spoke recently we were discussing guitarists and their guitars, and about the relationship players have with their instruments. With your style of photography, do you feel the same bond with your cameras?

Yes definitely –  I think in the film days when we didn’t change our gear as often, I certainly had favourite cameras and lenses. Even now my Leica’s have names; my Leica Monochrom is called Lulu and my M240 called Elsa after my two youngest daughters. A bit silly maybe, but actually in a way I’m trying to share what I see whilst I am away. I use these two the most as the Leica M’s are the best cameras for what I do, and I feel very attached to them. I also use my Hasselblad 503 called Sam (my son), a 5 x 4 camera called Maisy, and a Gandolfi 10 x 8 camera called Molly… And the camera with no name is a Noblex panoramic camera.

© Jon Nicholson

You use quite a variety of different cameras in your work. Any particular favourites? 

As I mentioned above, they all have a place but my Leicas are undoubtedly my favourites at the moment.

I saw recently that your 2001 book, Land Of The Cowboy, is to be republished. You must be pleased?!

In 1996 I started a personal project looking at the cowboy and the pressures facing that way of life. Shot mainly in Texas, New Mexico and Arizona, it was then commissioned into a book. It was all shot on film using a 5 x 4 MPP (I shot loads of type 55 Polaroid!), my Leica M6’s, and a Hassleblad X-Pan.

© Jon Nicholson

Now, almost 20 years later, it is to be re-published including 20 or so new images, again shot on 5 x 4 – both film and type 55 – which I shall do so later this year. I’m particularly pleased as there is no funding needed, and it’s a solid body of personal work – probably my best during my career for many reasons. Looking at the prints I made back then, they have a beauty that is hard to find with digital. And let’s face it – who doesn’t want to ride across the plains of Texas, singing Willie Nelson songs!

Expected publishing date Autumn 2018.

Jon was talking to Tim Stavrinou. For more information on Jon’s work, visit his website www.jonnicholson.co.uk and follow him on Twitter @jonnicphotos

The work of Lifestyle photographer Helen Cathcart has featured in countless renowned publications. Here, she explains how she started and how she plans to change perceptions of the elderly.

© Helen Cathcart

How did you get into photography?

I studied for my degree at Manchester Metropolitan University, but it was quite fine-art based and they didn’t really teach us anything about actually working in photography.  So I graduated with few practical skills – I couldn’t even assist – and ended up waitressing for a couple of years. When I went back to do an MA in Art Direction I realised I needed to use being a student more, something I hadn’t appreciated during my first degree, so I entered loads of photography competitions. It was winning the D&AD Student Award that got me a four-week placement with a London ad agency. On the basis of that I moved to the capital and luckily the agency kept me on in a visual resources role. That led me to picture editing, and I later became a photo director for a picture company where I was commissioning photographers. But I still had a yen to do it myself, so decided to leave and start on my own.

So was doing a Masters degree the catalyst?

It wasn’t even the masters itself, it was just being a bit older and realising how I’d spent all that money on the BA, but had come out not knowing how to get a job. It was the realisation that I had to get much more out of the MA.  A student project got me access to photograph backstage at the ballet and that’s the project that won me the award. So it was just about making better use of the resources the second time around.

© Helen Cathcart

You were recently a finalist in the Pink Lady Food Photographer of the Year competition, weren’t you?

Yes. I think it’s important for your profile to enter competitions. It’s quite time consuming but I try to enter when I can. When I was starting out as a photographer I began with a blog where I would photograph new cafes and restaurants in east London, and from that they would pay me to do the photographs – that’s how I got into photographing food.

Do you do a lot of your own food styling?

In food photography there’s a lot of different styling being done by different people. But I always set up the shot myself; a lot of photographers get the food stylist or the prop stylist to do that, which I can’t really comprehend. I have a lot of say about what props we’ll get and then I construct the shot. I don’t often have a prop stylist on set, but you still need to work with teams, so you’ll still have a food stylist involved in the shoot. My art direction background enables me to have a bit more input in it, which is quite important to me as I think the whole point of being the photographer is that you’re putting together the final shot.

© Helen Cathcart

Would you say you’re a big foodie yourself?

Absolutely, that’s why I got into it! I’ve just done the East London Food book (Hoxton Mini Press) with food journalist, Rosie Birkett. We first met when starting our careers, working for a magazine called Eat Me. We were sent individually to cover Meat Liquor and we just really got on. We then randomly got put together for a shoot on fishing in Aberdeen and the rest is history! The book contains all of our favourite places to eat in East London. The publisher approached me to do the photography for a book they had in mind and I recommended Rosie. Together we picked the places we wanted to showcase.

What kind of effect do you think Instagram and the fad of photographing food has on professional food photography?

I guess it shows there’s a massive interest for it out there and it seems to be the trend. I was working on some videos for a magazine the other day, and they were looking on Instagram to see what normal people are making at home so they could showcase it in a magazine format. So I know magazines are looking there for inspiration.

© Helen Cathcart

You moved to Sydney at one point?

That’s where my career as a photographer really started. Whilst working as a photo director I would often commission myself, and realised I was having more fun doing that! But the idea of quitting my job to be a photographer in London was too scary, just too much competition. It felt easier to go to a new country and to start afresh. My initial plan was to go out there and get more freelance picture editing work on glossy titles. My first commissions there were for Condé Nast Traveller and Sunday Times Travel Magazine, and that’s what kickstarted everything out there and meant that when I came back here they knew me and commissioned me here too.  Australia was doing the lifestyle stuff I do now way in advance of here, and that really inspired me. They have amazing magazines for interiors and food, I still think they have the best ones in the world. They have a really fresh way of shooting it and amazing styling.

© Helen Cathcart

Is it difficult to switch off and draw a line between fun and business when you’re shooting in some exciting destination?

I don’t think you ever relax into it. You always say to yourself ‘I’ll come back here some other time’ and then you never do! Obviously it’s brilliant to get to travel to all these places, and you get to enjoy the best of of a place in a short space of time. But if I go on holiday I tend not to bring my camera. I don’t want to carry it – the carrying is the bane of my professional life, and I’m so exhausted from taking photos that I don’t even want to lift one!

© Helen Cathcart

What equipment do you tend to rely on?

I have a Canon EOS 5D Mark III but I don’t use a lot of equipment and I don’t use any lighting, which surprises a lot of people. The thing about my work is that it’s very much me using the available light, and I’ve learnt how to do that in such a way that it gives me a distinct look and can fool people into thinking it’s artificially lit.

© Helen Cathcart

Do you need reflectors to achieve this?

Rarely. In fact I like having that dark look and making the most of the shadows for food.  For travel shots, people say don’t shoot in bright sunlight but I love it. I love having lens flare, contrast and shadows. I’m obsessed with sunlight and I want it to be as sunny as possible. I use fast lenses with large apertures to make the most of natural light. Tripods can be a necessity, but if I can get away without using one I will.

© Helen Cathcart

You have a project called Bolder – can you tell us more about that?

This is something I do with Dominique Afacan, a friend I met whilst working with a publishing company. We both wanted to do a personal project outside of our commissioned work, we felt like we needed to do something personal to refresh things. We came up with the idea on a plane one day. I had just been to Cape Town and had to photograph Liz McGrath, the owner of the owner of Cellars Hohenort, for House and Garden SA. She was in her 90s and absolutely fascinated me. I was telling Dom about her and how I felt about getting older and she felt exactly the same – and we came up with Bolder. We’re both obsessed with getting older and wanted to change people’s perceptions of ageing. We had this idea that we would find these amazing people over 70, I would take the portrait and Dominique would interview them. Within a month of launching it we had such a good response, so we’re just trying to build up followers now and maybe get a brand sponsor on board so we can develop it more. It’s such a beast in itself that it’s not really a side project anymore! Next weekend we’re off to France to photograph Michel Roux Sr.

© Helen Cathcart

So have you found it difficult to find people? Have they come to you or do you approach them?

In most cases they are people we have thought of or that have been suggested to us and we’ll approach them to ask if they’re willing to participate.  We usually just email them and find they’re very keen to help us change people’s perceptions of ageing. We try to get a range of people from different backgrounds, although admittedly it’s quite affluent at the moment, but we’ve got really interesting people on there. We wanted to do this while we’re still young and we can do something about the perception that the media currently portray, so that things might be better for us when we’re in that age group.

© Helen Cathcart

What other projects are you working on?

Lots! I’m doing one book with Michel Roux Jr’s daughter and wife, that’s with Octopus books. And I’m doing another cookbook for a publisher in New York. I’m doing a lot of things for Marks and Spencer and I’ve just taken on an agent, so I’m moving into more advertising and brand work.  I’m also doing a lot of interiors; I’ve got a project coming up in Paris for Alexander Waterworth interiors, who work on a lot of restaurants, and I’ve got a lifestyle piece coming up for Vogue Russia. This is especially thrilling for me, as I’ve always wanted to shoot for the Vogue titles.

Helen was speaking to Matt Golowczynski.

To see more of her work visit www.helencathcart.com, follow her on Twitter @helencathcart and check out her personal project Bolder at www.be-bolder.com (@being_bolder)

We speak to sailing and marine photographer Mark Lloyd about shooting fiercely competitive races and keeping his kit waterproof!

© Lloyd Images

Hi Mark. Sailing photography, that’s an interesting niche?

Yes, sailing and marine photography is the mainstay of what I do. So it’s pictures of the racing and all things involved with it.

And you run your own agency?

Yes, it’s a small operation – me and just a few other people. Nothing too flash!

© Lloyd Images

How did you get into this nautical line of work?

I’ve always mucked about with boats and always enjoyed watching them. I used to work for the Daily Mail and after leaving, decided to give freelancing a go and it just evolved from there. I took what I knew from various places, looked at how things were and tried to do them a bit differently……… and it worked!

When I started I was working on my own, I had a couple of contacts who gave me work and it just grew and grew. I worked a lot in France at the start, working with their sailing teams and that’s where things started to evolve. At the time, before the financial world exploded in the UK, there were quite a few people doing it, so I got involved with them and we slowly built it up.  I still shoot 24/7 and I love doing it.

© Lloyd Images

Your shoots seem quite varied?

Yes, it’s a real mixed bag of stuff. Some of it is races, some of it is individual teams, and then at the other end of the scale you’ve got high-end fashion work for people like Hugo Boss. I love photographing people, so the two go hand in hand quite nicely. I like to come up with ideas for portraits, so I’m lucky that I get to do it.

© Lloyd Images

Are there any recent jobs you’ve particularly enjoyed?

In May I finished a transatlantic race called the Transat Bakerly which was quite an odd one and I was given free rein to do as I wanted. I was there at the race start in Plymouth and then later finished in New York and it had every element you could possibly imagine and more – the competitiveness, the people, the emotion of finishing. A complete story. And then – a total contrast – this week I’ve just come back from France, where I’ve been doing something called the Tour de France Voile, which is a sailing race that goes all over France. They’re little boats and you just get completely rinsed, totally soaked. More like swimming than sailing!

© Lloyd Images

You must need good waterproofing?

Yes, it’s a difficult one because you’re trying to find the balance between protection and usability. I’ve got a variety of different systems that I use depending on how much agility is needed – if I’m going offshore on the big boat I use Liquid Eye Housing, which is designed by a french photographer with surfing in mind, so we’re taking something and adapting it. And then the other system I use, which isn’t widely known but I think will be, is made by a company called Outex – it’s like a big rubber sock which goes around the camera with glass at the front so you tend not to lose too much in terms of quality.

© Lloyd Images

What do you see for the future?

Well, it’s a difficult time. Things are changing so fast, the expectation and value people put on photography has changed and consequently you need to provide really nice quality pictures that people actually want to look at, but also do it quickly. It’s all so instant now, I’d say that’s what’s going to drive everything forward.  I guess we’ll have to wait and see.

© Lloyd Images

Mark Lloyd was talking to Jon Stapley.

His professional portfolio can be found at lloydimages.com

A veteran of photographing sport stars in the studio, Paul Cooper is the subject of our latest ProFile

© Paul Cooper

Hi Paul. Can you tell us a little about your genre of photography?

These days I mainly shoot global ad campaigns for sporting brands, often involving whole teams as well as individuals such as Lizzie Armitstead, Bryan Habanna, Sir Chris Hoy and more. I also shoot editorial portraits of sporting personalities for magazines and newspapers.

© Paul Cooper

What do you like about it? What keeps you coming back?

I am inspired by the possibility that within every job you do there is an element of the unknown about what you may come away with.  There is every chance you could create a great set of photos that may eventually run over several pages in a magazine or across a global billboard campaign. For me that is very fulfilling and inspires me on each shoot.

The buzz of knowing you have a great shot is what photography is all about for me. I still get that feeling after many years in the business and the desire to create even better photos on the next shoot is stronger than ever.

© Paul Cooper

How would you describe your photographic style?

My preferred style involves dramatic, edgy, hard lighting. Working with some of the world’s most passionate athletes, I like to try and capture some of the grit and determination that makes these people the successes they are.

Of course, I have to adapt my lighting style depending on the client’s requirements. It’s not uncommon that each shoot has a completely different look, due to the art direction from the creative at the agency. In the world of advertising photography you have to be flexible in your lighting setups and creative approach in order to suit the campaign.

As much as possible though, I try to shoot in my style, and on several occasions I’ve shot an additional setup in my style alongside the agency’s requirements and they’ve ended up going with mine. So it’s good to have a defined style of your own – almost a brand, if you like.

© Paul Cooper

Where did your career start?

I started out in the darkroom at The Times in London where I learned black and white and colour printing and processing, which was a very good grounding for the move to taking photographs.

I left London to live in Paris and freelanced for a couple of years before starting my own agency covering news, sports and features across France and Europe for many worldwide newspapers and magazines.

On my return to the UK, I moved into advertising photography and specifically sport. I am very lucky that my career combines my love of both photography and sport.

© Paul Cooper

It sounds like you’ve had a varied career. Any particular memories that stand out for you?

I have several favourites for different reasons. Some remind me of a wonderful experience, some I like because they are technically interesting, some because of the great shots. I constantly amend my favourite list with new shoots I undertake, so the choice of favourite is an evolving thing.

Recently I would say that I have enjoyed the shoot I did with Lizzie Armitstead; it was a challenging one as we had to contend with both rain and time constraints to get strong imagery that would work across the campaign. We had only a few minutes on location, trying to keep Lizzie dry and happy, and then had only twenty more for all the studio shots. I am very pleased how the end results worked out.

I also really enjoyed a shoot at Man United. We built a set of the Old Trafford changing room so we could position the lights in ways that would not have been possible in the real one to shoot the players with some nice light. You can’t tell the difference between the fake and real dressing rooms in the final results, which is very satisfying.

© Paul Cooper

What camera setup do you use at the moment?

I generally use Nikon D810 bodies with prime lenses for most shoots, however I do use medium format if requested by the client.

Do you have any particular plans for the future of your photography? Anything you’d like to try that you haven’t yet?

I love doing sports portraiture. I recently shot Ross Barkley for FS magazine and they used the photos over four pages. Seeing work in print is still a buzz for me and I want to keep that going alongside my advertising work.

Moving forward I would like to shoot more campaigns abroad. Last month I did a watch advert shoot in Italy with Max Verstappen and Carlos Sainz of RedBull/Toro Rosso. Sometimes getting the big names in global sport means you have to go where they work, you have to travel. To shoot LeBron James (basketball) or Alex Rodriguez of the New York Yankees (baseball) would be amazing.

© Paul Cooper

Paul Cooper was speaking to Jon Stapley.

His official website is pcooperphoto.com and he tweets under the handle @cooperphotosuk