What each pillar covers, and the work that came out of it. Forty recent pieces, each set linking through to the full body of work behind it.
Headshots, portraits, products, spaces, and the full brand image library, captured to work across web, socials, decks and print for the next twelve months.
Product highlights, testimonials, showcases, events and the brand films that build authority. Story-led, paced, and built to land on the platforms your audience actually watches.
Personal portrait work, creative edits, time-lapse, and selected animation and AI exploration. The work that keeps the craft sharp.
Headshots, product, spaces, people at work and the video that comes off the same setups. Built to last a year, not a campaign.
A broad, consistent set covering people, product, workspace and detail, graded as one body of work. The point is that twelve months later your website, a deck, a tender and an ad all pull from the same library and still look like one company.
Shot to one lighting setup and one background treatment so a leadership page does not read as six photos taken in six different years. New starters can be matched to it later, which is the difference between a system and a shoot.
The clean frames a listing or a wholesale catalogue needs, and the in-use frames that actually sell it on socials, shot in the same session so the two sets match rather than being commissioned twice.
Your premises, your process, your people doing the thing you sell. This is the material that replaces stock, and it is the single biggest lift most brands get from a first shoot.
Testimonials, product highlights and short brand pieces captured against the setups already built for stills. Running both in one day is most of the reason a combined shoot costs less than two separate ones.
Full resolution for print, web sized for the site, and vertical crops framed for socials rather than cut out of the middle of a landscape frame. Nothing needs re-editing before it goes out.
The list is built before the shoot from what you actually need: the pages that are thin, the products without a clean frame, the people who have never been photographed properly. It is the difference between a day that covers a year and a day that produces forty versions of the same hero shot.
A commercial licence covering paid and organic use across every platform, with no separate media buyout later. Where a shoot involves hired talent rather than your own team, their usage is a separate term and is quoted as its own line up front.
The same setups carry straight into corporate headshots, brand videography, social media ads or drone photo and video. The photography and videography pages carry the wider range.
Every shoot is quoted as a fixed fee against the brief rather than off a rate card, because the number of setups is what drives the day, not the hours.
Tell me what the images have to do, where they will live and when you need them, and the quote comes back with the scope written beside it, so the number you approve is the number you pay. Half day, full day and quarter day rates are set out in the packages guide.
A preview gallery of selects within about three business days, so you have something to work with immediately.
The full graded set lands in ten to fifteen business days depending on volume. Video runs a little longer because of the revision round built into it.
Usually not. Most brand work is better on location, in your actual premises, because that is what makes it yours rather than something anyone could have bought.
I bring a portable setup that handles clean product work on site. Where a brief genuinely needs a studio I book one and roll the hire into the invoice.
Less than people expect. Headshots run about ten minutes a person once the lighting is set, so a team of fifteen is a morning with a schedule rather than a lost day.
The heavier ask is having someone available who can make decisions on the day. That one person saves more time than any amount of pre-planning.
A shot list agreed in advance, tidy spaces, product ready and clean, and a note on wardrobe if the team is being photographed.
I send a short prep document once the date is locked. It is one page, and following it is worth roughly an extra hour of shooting on the day.
Yes. Commercial licensing for your own marketing is included, which covers your website, socials, print, decks and paid media.
The exception worth knowing about is talent. If a shoot involves hired models rather than your own staff, their usage terms are separate and get quoted as their own line.
That is a briefing problem, so it gets solved before the camera comes out. We agree the shot list and the look up front, and on a shoot of any size I will show you frames on the day while there is still time to change direction.
Retouching revisions are included on the delivered set. A re-shoot because the brief moved after the fact is quoted separately, and in practice it almost never comes up.
Most brands get twelve to eighteen months out of a properly scoped library before it starts to look dated or the team has changed enough to notice.
The cheaper pattern is a smaller top-up shoot each year against the same lighting and treatment, rather than starting from nothing every second year.
“Jordy is way more than a nice camera. His eye for detail, his engagement with clients to understand their goals, and his respect for the process from start to finish are all impeccable.”
Tell me what the content needs to do and where it needs to live. I'll come back with an approach and a date.
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