A University of Oxford consortium behind one of the leading vaccine candidates for the coronavirus selected Oxford Biomedica as its lead manufacturer. I was allowed access to photograph at the new OXBOX £20 million facility called Ox Box on the Oxford Business Park.
The Jenner Institute at Oxford is currently working on its vaccine candidate with clinical trials about to begin, and Oxford Biomedical is the lead producer should the human trials prove successful.
The Oxford vaccine candidate relies on adenoviral vector technology, ChAdOx1, developed at the Jenner Institute, in Oxford. It is seen as one of the most promising vaccine technologies for COVID-19 as ChAdOx1 has been shown to generate a strong immune response from one dose and it has demonstrated a good safety profile in pre-clinical and clinical trials conducted to date.
Britain has agreed a deal with the World Health Organisation to work with 20 other countries and global organisations including France, Germany and Italy to find a vaccine and to share the results.
The British government has pledged £20 million in funding with Matt Hancock, the Health Secretary, saying “We are going to back them to the hilt and give them every resource they need to give them the best chance of success”.
Oxford Biomedica is a leading, fully integrated, gene and cell therapy group focused on developing life changing treatments for serious diseases.
John Dawson, Chief Executive Officer of Oxford Biomedica, said: “As an established clinical and commercial manufacturer of viral vectors, we are very pleased to be in a strong position in terms of capacity and capabilities to support the important and urgent efforts of the Consortium led by the Jenner Institute, University of Oxford, to develop and scale up manufacturing of this promising vaccine candidate for COVID-19.”
I am currently featured on the Shotkit website as an invited photographer. I was required to photograph the contents of my camera bag … bags! I spent a day arranging my equipment and then photographing me in the middle.
Shotkit is a resource website providing likeminded photographers with interesting and useful information regarding the best photographers in the world. Shotkit encourages other photographers to enquire about anything from photographic equipment to tips on running a photography business. Shotkit has become a valuable resource to learn from some truly amazing photographers.
Shotkit is all about inspiring, teaching and supporting photographers from around the world to become their better at art and in their business.
I was a winner at the 13th Annual “International Color Awards” Nomination & Winners Photoshow, streamed on Saturday 14th March 2020.
I received an honourable mention in the “Abstract” category for my architectural photo of the ceiling in the ICON Outlet at the O2, an honourable mention in the “Silhouette” category for my photo of a Red Cross volunteer behind a flag, and four nomination titles for the categories of “Abstract”, “Children of the World”, “People” and “Still Life”.
I am the longest serving and volunteering photographer for the British Red Cross. I have photographed everything from disaster relief to Royal events. They are, and always will be, the organisation that I most enjoy working with.
The work that I have witnessed has been amazing and the people that I have worked are incredible. The British Red Cross is always on standby to help with UK emergencies and the coronavirus, is no exception.
The live online gala is now the worlds most watched photo show with over 15,000 photographers around the globe participating.
INTERNATIONAL COLOR AWARDS is the leading global award honouring excellence in colour photography. Now in its 13th year, this celebrated event shines a spotlight on the best professional and amateur photographers worldwide and honours the finest images with the highest achievements in colour photography. www.colorawards.com
Numerous headlines have declared the decline, or death, of the high street and, indeed, many facts would seem to support this point of view. 2019 was the worse year on record for British retail. High Street sales fell for the first time in 24 years with 12% of stores now standing empty. In the United States there are about 1,200 shopping malls with one-third of them already failing.
Originally the high street and shopping mall was the centre of activity and social life for many people. With technological and social changes, we are shopping and interacting differently. Our current generation is the most informed and diverse in history, actively seeking out new experiences. High Streets and shopping malls cannot remain a collection of independent outlets that make up a whole, they must become contributing factors that create an experience for the consumer.
I photographed the Mall of Egypt in Cairo for the architects CallisonRTKL and operated by the Majid Al Futtaim Group. Last year CallisonRTKL topped the “Visual Merchandising and Store Design” ranking for the third year in a row. The 280,000-SM Mall of Egypt offers a dynamic mix of activities connected by a series of indoor and outdoor public spaces that respond to the region’s climate and lifestyle.
Located in Cairo’s modern 6th of October district, the retail and entertainment destination is designed to LEED Silver standards and is intended to foster a family-centred sense of community. The two-level centre includes a hypermarket, global flagship retail, a range of dining options, and exceptional entertainment venues including a cinema complex, the first indoor snow park in Africa and Magic Planet entertainment. The centre’s master plan is divided into three themed zones, each designed to complement the other and integrate with the overall 6th of October city master plan: Zone 1 or “The City” is arranged in a series of streets lined with retail and family-friendly public spaces. Zone 2 or “The Desert Valley” has an elegant interior, housing the centre’s upscale department stores, international retailers, and a central courtyard for music and cultural events. Zone 3 or “The Crystal” is characterised by its dynamic lighting and is the mall’s destination for leisure and entertainment.
The Mall of Egypt has been designed as a consumer engagement space with a sense of community created out of the entertainment, experiences, and services which are offered. It is no longer a place for retailers to push out product offerings into a mass market but somewhere which has a pull-marketing approach orchestrated around the needs and interests of an increasingly diverse consumer market, segmented by age, ethnicity and locality.
To succeed in the future the industry will always have to think like the customers it serves. The high street and shopping centre have to create a platform where people engage with brands to facilitate sales in an environment that is conducive to their requirements. There won’t be a “one size fits all” design concept but there will be certain elements that will transcend different shopping centres. Entertainment and the experience will be a key factor along with the dining facilities.
Specifically designed mini cities where people live, and work is one concept foreseen as the future of the mall. These would also feed into the appetite of the increase of consumer tourism of places to visit and shop. What we can foresee is that where we shop in the future will not look like the traditional high street as we know it. It will be an entirely new retail experience—one that will change throughout the year and even throughout the day to keep people coming back for new, fresh experiences. These advancements will affect developers, consumers, retail brands and designers, from the smallest neighbourhood to the most impressive Class-A regional shopping centre. The future of retail is ever-changing and ever evolving and it’s up to developers, retailers and designers to pinpoint what fads will fade and what trends will cement themselves and flourish into the future.
Behind the scenes
Photographing any project abroad has a number of challenges. I always work with the architect / designer and the building management team.
There are three important elements to photographing this sort of project. The first is understanding and appreciating the design of the project through talking with the architect and drawing up a shot list of spaces and features to be captured. After establishing a shot list, we agree on how long the shoot will take and start organising a suitable date agreeable to all parties involved. It is always best to photograph any space as soon as possible to showcase the project and avoid any wear and tear. However, too early after its completion and you may not have all the units filled and subsequently less people visiting. There are also additional considerations of local public holidays or unique events to consider. It definitely pays to speak with the building’s management team.
The third element is the logistics of photographing such a project and working in a different country. There is the obvious consideration of what essential equipment I need to take, where to stay local to the project, visas, weather etc. Then there are the unforeseen challenges that you have to work with, such as equipment failure and illness.
When I first landed in Cairo I had organised being picked up and taken to my hotel. The driver explained how I needed to pay for my visa in either Euros or dollars. I had neither so had to negotiate a local currency rate. On learning that I was a photographer he asked me how much equipment I had and whether I had more than one camera. I always travel within a whisker of the weight allowance with as many bags as permitted. These will contain some extra clothing and a toothbrush but 99% is equipment! My driver proceeded to tell me that of the last two people he had attempted to pick up with film and stills cameras one had been detained for five hours and then allowed to proceed without his equipment and the other had been turned away. Lucky for me we were just waved through.