Earlier this year I was assigned to photograph Project Breathe for Microsoft. Project Breathe is a smartphone-based solution which allows people with cystic fibrosis to monitor their health at home with devices that measure key indicators such as lung function, blood oxygen levels and activity. That data is then stored in the cloud and can be accessed by clinicians on a dashboard using Power BI, Microsoft’s data visualisation platform, to look for trends and determine when patients are becoming unwell. By tracking their own data, patients can intervene earlier and potentially head off serious, lung-damaging infections.
The solution was developed through a consortium involving Microsoft, the U.K.-based Cystic Fibrosis Trust, the University of Cambridge, Royal Papworth Hospital in Cambridge, Microsoft Research and Magic Bullet.
I wanted to capture the human side of the project and show how the tech was improving people’s lives. The problem was that as we were discussing the photography the world changed and the UK went into lockdown. How do you photograph during a pandemic which is shielding the most vulnerable, when the assignment requires photographing people with cystic fibrosis in various locations including hospitals?
There was an initial thought that we should postpone the story but then realised that the lockdown was not going away and that Project Breathe became even more important to capture. The fundamental concept of the idea was to reduce hospital visits and try and have each person monitor, understand, and manage their condition.
The pandemic meant that there was a new risk to anyone visiting a hospital with cystic fibrosis, and hospitals were now under great pressure to reduce visits that were not Covid 19 related.
I spent time talking with everyone involved to learn as much as I could about how they were part of Project Breathe, and in the cases of those with cystic fibrosis, how they were using the tech.
It was an incredibly inspiring project to photograph and I enjoyed spending time with everyone involved. I have also been pleased at the initial response with a great retweet and comment from Satya Nadella
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I am often asked “How many photos does it take to capture a “good” one?” As though the more photos you take increases your chances of capturing something iconic. Some would argue that in a way the more photos you take the more experience you gain, the more technically competent you become, and the more creative you push yourself.
I would agree that by taking more photos you are honing your craft and therefore working harder to capture something special. However, I don’t believe that the above question is asking how you develop your creative side to capture an award-winning image. I understand it as a statement about a monkey and a typewriter. This is of course the old theory that if you take enough monkeys and typewriters and set them to work, eventually one of them will produce the complete works of Shakespeare.
In the run up to the Siena International Photography Awards I thought it would be interesting to show the images surrounding my award-winning photo.
I am often ‘in the moment’ when photographing so it is only afterwards that I understand how I arrive at the final image.
I always favour photos that when I look at them there is no formula. There is no algorithm to construct what I am seeing whether that is the raw emotion of a person or the aesthetic “balance” of the picture.
The photo was taken in Liberia for the peace organisation “International Alert”. I was awarded “Photographer of the year” in 2019 by Siena International Photography Awards. Whilst the award ceremony has been cancelled this year, winners will be announced on the 24 October 2020. Good luck to all the shortlisted photographers.
EPR Architects has once again scooped the AJ100 Client’s Choice award. The practice has now won the gong 3 times in the last 4 years, reclaiming the top spot from last year’s winner HTA Design.
EPR emerged as the runaway winner after the AJ polled construction clients and asked them to name both a practice with whom they would like to work again, and one they had not yet worked with but would like to.
The architect beat 6 other shortlisted practices, which included 3D Reid, Allies and Morrison and Assael Architecture. EPR is ranked 16th in the AJ100.
Earlier this year I photographed the new London offices of a leading US Investment firm for them.
EPR’s design has successfully reimagined and reinvigorated the office space, creating a high quality, open plan modern working environment with ample features for their staff and visitors.
The reception area has been redefined as a welcoming area that is more akin to being an art gallery than the reception of an investment firm. One wall is clad in cherry wood panels and the others in subdued fabric panels to compliment the incredible Anthony Gormley sculpture and Rebecca Gouldson wall art.
The front of house guest area also includes various meeting options including the boardroom, housing a custom made Ceasarstone table along with Wilkhahn Solo leather conference chairs.
Between the client meeting area and the back of house working environment is a communal kitchen, dining, and informal meeting space. A bespoke oak bench emerges from the timber floor and continues up the wall before forming a ceiling feature as a contrast to the character of the work environment. Above the table is an Ultra 8 by Le Deun feature pendant light.
The open plan working environment offers staff a variety of spaces where they can work effectively, including dedicated desks to meeting rooms of different sizes and comfortable breakout spaces. This is furnished with Knoll Tone Sit Stand workstations throughout with Herman Miller Aeron task chairs.
Attention to detail was central to the design which replaced the heavily repetitive panel ceiling system for a bespoke ceiling solution to each cellular office, integrating a black framed ventilation grill to clearly define the two open plan offices. Within the front of house areas, the ventilation grill is replaced with a black aluminium channel and lighting which connects the spaces and directs guests to the refurbished meeting rooms. This lighting by Kreon highlights key features such as the flamed textured granite wall in the lift lobby, the cherry wood wall in the reception gallery, and the artwork.
Like photography, design is about beauty and content or form and function. All too often photographers and designers seem to be working hard to produce material that is baying for your attention. Sometimes all that is required is a passion for quality, and a high standard of finish showcasing what you are about. EPR Architects have balanced this perfectly.
I have been photographing with InterGen for 13 years, providing them with commercial photography for their annual reports, website, & marketing material.
Originally, I photographed all 3 UK sites going on to capture 2 power stations in the Netherlands plus 5 sites in Mexico which they no longer own. I have also photographed their corporate portraits & various events along the way.
InterGen is a world class developer, owner & operator of power generation facilities in the UK & Australia, with over 25 years’ experience in energy markets.
Earlier this year InterGen asked me to return to the UK sites to produce a new set of pictures for a rebrand which required fresh content for their new website.
This time Photobanks Ltd. in collaboration with VisMedia supplied photography, film, drone photography & 360 degree content for online tours.
We spent a day at Spalding Power Station in March & then went into lockdown immediately after. The website was launched shortly after
We have recently covered the two other UK sites which I will showcase in the future.