Mix Interiors magazine’s November issue ran a feature on the award winning Adobe workplace project with a selection of my pictures.
Mix Interiors is the leading magazine for the commercial interiors market. Aimed at the architectural and design community each issue of Mix Interiors includes a number of detailed case studies.
The Adobe scheme has been designed by Gensler and Hoare Lea, and managed by Turner & Townsend and is a mixture of open plan areas, meeting rooms, social hubs, a library, tech cafe and games room. The creative work environment equally prioritises both individual and group space and equips employees with the technology they need to easily and efficiently collaborate. A major feature includes a ‘Customer Experience Centre’ – providing UK and European customers with an environment to experience Adobe’s technology. The office boasts cutting-edge connectivity and technology alongside bright and open areas where teams can meet and work together, as well as quieter spaces for individual work.
An interconnecting feature staircase constructed in bold, red perforated metal mesh around a steel structure that sits on a combination of concrete and timber platforms. Light cubes on wire mimic falling pixels spreading through the void space. The feature stair connects staff across levels 7 and 8 and reflects the industrial feel of the building. The overall aim was to create a feeling of home, not just a workspace that tells the story of the Adobe brand and culture.
To read the online case study -
Occasionally I am asked to photograph events that cannot be discussed until after, interiors that are not to be seen by anyone other than the client and people whose portraits are restricted ... I can now add top secret food to that list!
I have been photographing for Pladis for a while now and earlier this year they contacted me to see if I would like to photograph a project as commissioned by Her Majesty Queen Elizabeth and Prince Philip.
In 1947, McVitie and Price made the official wedding cake for the young royal couple. Parent company Pladis offered its services to Buckingham Palace to provide a cake to celebrate the royal milestone, and in July, Pladis received a letter from the Master of the Household, stating that “Her Majesty would be very pleased to receive the cake.”
Pladis’s team of chefs created the one-of-a-kind cake on Hopwood Lane in Halifax, which was decorated in High Wycombe and has been delivered to Windsor Castle.
It was created by a team of specialist bakers lead by Esther Gamble, Product Design Lead, and Mark Schomberg, Global Development Chef at Pladis.
The cake includes intricate handmade sugar work details such as flowers replicating the Myrtle used in The Queen’s original wedding bouquet and intertwining initials to represent their union.
The cake is a fruit cake, weighs 35kgs, is 24 inches at its widest point and stands almost 2 feet tall.
I recently photographed the new Adobe cutting edge office in London’s Shoreditch. The offices are located on the ‘Silicon Roundabout’ in London’s Tech City, a hive of innovation and the third-largest technology cluster in the world after San Francisco and New York City.
The scheme has been designed by Gensler and Hoare Lea and managed by Turner & Townsend and is a mixture of open plan areas, meeting rooms, social hubs, a library, tech café and a games room. A major feature includes a ‘Customer Experience Centre’ – providing UK and European customers with an environment to experience Adobe’s technology.
Como was assigned to complete the 45,000 sq ft fit out with features including an interconnecting feature staircase constructed in bold, red perforated metal mesh around a steel structure that sits on a combination of concrete and timber platforms. Light cubes on wire mimic falling pixels spreading through the void space. The feature stair connects staff across levels 7 and 8 and reflects the industrial feel of the building. The overall aim was to create a feeling of home, not just a workspace, which tells the story of the Adobe brand and culture.
The soffit is generally exposed with fabric baffles aiding acoustics and aesthetics, punctuated with areas of suspended metal mesh. The fabric baffling continues with meeting rooms and meeting pods, along with large AV arrangements.
This layout provides a fluid working environment, meant to spur new ideas and unexpected collaborations. The employees may have an assigned desk or access to quieter individual work spaces, but they’ll also have a variety of group spaces if they need to work in a collaborative way.
Towards the end of last year I worked with DRAX Biomass at their Baton Rouge Port operation and the Morehouse Bioenergy pellet production fascility in Texas.
I was commissioned through Vismedia to photograph and capture the manufacturing process of compressed wood pellets from sustainable working forests in the U.S. south. These high density wood pellets are then used as a low carbon alternative to coal in the upgraded biomass units in their power station.
Corporate photography has changed drastically in recent times with more content being online. The annual report has been the traditional sales tool of companies, but it makes financial sense to capture images which become part of a larger media library for the client.
I have been photographing corporate photography for twenty years and have come to understand that value for money means exceptional photography delivering the companies ethos.
Corporate photography has to communicate a company’s business from the manufacturing, distribution and sales, through to the personality of the people that make that business. This is often highly diverse photography from a photojournalistic style, to portraits, studio, interior and architectural photography. The corporate photographer has to be technically competent in all fields of photography.
The knee jerk alternative for photography is to look towards stock agencies for imagery. Generic images of people working or communicating in a workspace that is not that of the companies can create doubt in the mind of the viewer and raise questions of professionalism. Commissioned, dynamic photography of a company’s activities and employees shows their individuality and personality.
A corporate photographer is not just someone who has an expensive camera who will record whatever they are shown. A corporate photographer works with the client prior to the shoot to determine what they want to capture and then will assist with the logistics of achieving this. The corporate photographer needs to understand a company’s business production so that they can come away with a set of pictures that invoke a clear strong statement about the company. Equally the photographs have to demand the attention of the viewer by catching the moment in an arresting manner. The photographs should be worthy of the many international corporate photography awards.