"Calling Ian a photographer isn't enough. The images he creates are a world apart"

After studying at Manchester College of Science & Technology (now University of Manchester Institute of Science & Technology) and Manchester College of Art, Ian worked with top professionals at Studio Delta, which was a part of Artel, Manchester's top studio group.

Under the tutelage of three acclaimed studio photographers - set builder Bill Marshall, lighting & camerawork specialist Ted Taylor and layout guru Les Goulden - Ian rose through the ranks, amassing a skills set based on advanced visual skills underpinned by technical knowledge. Over time, Ian not only developed his own style of advanced studio product photography but also widened his remit into on-site industrial and commercial imaging, aerial photography and audio-visual content.
Such a wide remit resulted in Ian's photography being in high demand, not just in the UK but also across the Middle East. Magazine illustration then widened that still further into Europe and the Americas.

Continually updating his skills with regular top-up training, as the world moved on from film, Ian also embraced digital techniques and advanced computer image manipulation.
Although now retired, Ian remains continually busy, yet no longer accepts commercial commissions or paid work of any kind. His work is now all not-for-profit retirement projects supporting named charities, for whom thousands of pounds have been raised and world wide awareness created. The images shown here were mainly created prior to retirement.
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Lemazone Pulsar
Styled after a German sports car, the Pulsar was built in the UK by Lemazone Ltd.

The Lemazone MD wanted the launch image set to be similar in style to a promo shot of the Ford Sierra that was very subdued with a black background and red glow.

The problem there was that the car could only be made available for one day, the door did not fit and the front bib was cracked.
On the day of the shoot he lit the front shot with a highlight masking the crack in the bib and then overlit the side view to mask the ill-fitting door.

The camera cannot lie!
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When a car enthusiast built his own replica of a 1930's style race car, the only way that an image was ever going to do it justice was to re-create a famous painting by Jack Vetriano of a real race car being filmed on Bonneville Salt Flats.
In multiple shots, Ian and the car owner posed as mechanic, driver, cameraman etc, then with some subtle (and not so subtle) digital wizardry, Ian put it all together to mimic the Vetriano painting.

Garagist: someone who talks about cars
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Magazine Images
Ian has a long history of creating images to illustrate automotive magazine features.

The main image here of an Autotune Gemini sportscar was photographed for Link House Publications in the grounds of Whalley Abbey.
Older cars and replicas offer some of the most atmospheric possibilities, such as this Sherpley replica of a 1930's Bentley photographed for Which Kit? magazine
But features require more than overall general shots of the featured car and Ian's eye for style allied to his studio skills enabled him to create equally stunning images of just parts of cars or components.
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Aerial & Aero
During his employment at a small studio in the N/W, and under the instruction of owner David Ruaux, Ian added aerial photography to his skills portfolio, inevitably developing further into air to air, ground to air and air to ground techniques.

With his reputation going before him, at the time of the lead in to the first Gulf War Ian flew with ex-combat pilots to photograph rigs and facilities in the Persian Gulf for the Saudi government owned Aramco.
Back home, among many aerial assignments Ian shot flexwing microlights air to air for Which Kit? magazine and the Crunchie Flying Circus for Express Newspapers.
Ian has photographed the famous Red Arrows on many occasions for magazines and for film (including an OMF short about the Southport Air Show currently streaming on YouTube).
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Different Styles
Camera angle, exposure and focus make up only part of a photograph. Ian's ability to think out of the box and visualise different treatments enable him to match an image more closely to its eventual use.

A pipeline photographed for the Saudi Arabian government owned Aramco's annual report conveys the warmth of a desert location while other pipes photographed in silhouette quickly grab attentionfor use in an A/V presentation.
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Banks Europa
When a car is so well known that images have graced virtually every auto magazine worldwide, just how do you come up with something different?

Commissioned to photograph a new version of the Lotus Europa sportscar (being built under an agreement with Lotus) by the N/W Lotus specialist Banks Automotive, Ian was faced with even more requirements.

The new car had a different rear valance, widened wheel arches and a revised front treatment with pop-up headlights, all of which needed to be apparent. Ian created this stunning overhead image which ticked all the boxes.

Question: how did he get the car into a position that is surrounded by steelwork?
But cars are made to move - and sports cars especially, so for this commission another of Ian's specialities - shooting a moving vehicle from another moving vehicle - enabled a full set of images to be created to illustrate a magazine feature.
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Beauty Book
How can a beautiful image of a beautiful girl photographed for a beauty book cause problems?

Having worked in the region for years and fully aware of the Middle East culture, when British expat Anne Malin commissioned the studio Ian was managing in the Sultanate of Oman to provide the cover image for her beauty book, Ian pulled rank and set down specific requirements. Instead of the normal photographer, Ian would shoot the image, the girl had to be chaperoned and access to the studio during the shoot was barred.

After the shoot the girl and her mother returned to the studio and thanked Ian for the quality of the portrait and the way he had conducted the commission.

Then disaster struck.
Ian had resigned from his position, the studio owner Mohamed Kharusi hatched a plot with the girl's father aimed at keeping Ian in Oman. That plot backfired - but not before three appearances in court and a personal promise to Ian that 'a good thing will be done' by the President of the Court.
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Always on duty and aware of image options no matter where he is, this stunning sunset image was captured while shooting cars in Ireland for a feature in The Express newspaper.
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Still Life Product
Going right back to the beginning, Ian's studio skills with camerawork and lighting have underpinned his whole career.
Bringing diverse products to life - making them attractive to potential buyers browsing a catalogue - is something Ian excels at.
Although a party drum, a cocktail and sweet dumplings may look simple, look again and check out the completely different treatments in settings, camerawork and lighting.
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Portraits & Social
Although an advertising and commercial photographer by trade and by training, over time Ian has turned his hand to many other genres of photography - usually successfully and attracting acclaim.

His oft stated 'I hate weddings' comment is countered by one of Ian's images shot in the rain winning the Kodak Bride of the Year contest resulting in a presentation at the Savoy in London.

Separately, when Cardinal Basil Hume, then head of the Catholic Church in the UK was a student on one of Ian's weekend A/V training courses at the Lancashire College, Ian shot this atmospheric portrait. Shot quickly in a refreshment break with no lights, no set, no background and only one image taken Cl Basil's comment was a simple 'Is that it? Just one shot? You are a confident young man'.

Such a great image that when the cardinal passed away the Catholic Church themselves used it to illustrate their obituary.
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