Archive for the ‘Julian Calverley’ Category

LPA Photographers / Julian Calverley / Lürzer’s Archive

February 1, 2016

Once again LPA Photographer Julian Calverley has had his work selected by the Lürzer’s Archive.

Judged by a panel of international experts, the Lürzer’s Archive is a showcase for the Best 200 Advertising Photographers Worlwide. Huge congratulations to Julian, incredibly well deserved! Here are some excerpts from the book…

© Julian Calverley

© Julian Calverley

© Julian Calverley

© Julian Calverley

LPA In Focus / Portrait Photography

August 25, 2015


LPA Photographers / Julian Calverley / 23red / Network Rail

August 10, 2015

LPA Photographer Julian Calverley was recently commissioned by 23red to work on the new Network Rail safety campaign.

Shooting at level crossing sites across the UK, Julian worked late into the night and early in the morning to capture dramatic landscapes complete with an eerie sky. The human elements were then shot in our studio site and comped into the images along with the copy. Big thanks to 23red for the commission, especially to the great Art Director Tristan Cavanagh who worked with Julian.

© Julian Calverley

© Julian Calverley

LPA Photographers / Julian Calverley / Key Parker / Skoda

July 1, 2015

LPA Photographer Julian Calverley continues his relationship with Skoda shooting this summer inspired image.

Commissioned by Midlands-based Key Parker with art director Wayne Rees, Julian has already shot some impressive work for the Skoda team. Definitely getting picnic envy in this sweltering heat!

© Julian Calverley

LPA Photographers / Julian Calverley / Redwood / Land Rover

May 8, 2015

LPA Photographer Julian Calverley recently spent a week on the picturesque Faroe Islands shooting these new images for Land Rover.

Julian was approached by Dan Delaney, Art Director at Redwood, who had been waiting for the perfect project to pop up to suit his cinematic style. Julian shot the new Land Rover Discovery Sport along with a ‘fine-dining adventure’ travel story for Rover’s OneLife magazine. The team braved wet and windy weather which happened to suit the brief – which called for wild and dramatic scenery – perfectly. Julian is accustomed to shooting in adverse weather conditions and remote landscapes, so he was the best man for the job!

Julian also shot at Koks restaurant, the chef and his dishes, along with a variety of people involved with the supply of Faroese ingredients.


© Julian Calverley


© Julian Calverley


© Julian Calverley


© Julian Calverley


© Julian Calverley


© Julian Calverley


© Julian Calverley

LPA Photographers / Julian Calverley / Porsche 356 Speedster

April 27, 2015

LPA Photographer Julian Calverley recently photographed this beautiful Porsche 356 Speedster, in a new addition to his expansive body of automotive work.

The car is owned by Nick Schon, ex- Group Director of Saatchi & Saatchi and illustrator of over 170 children’s books. Julian said of the shoot, “it’s often tempting when photographing cars, to get carried away with complex lighting set ups, CGI backgrounds and post production trickery, but this car just begged for a simple and classic approach.” We agree that Julian’s polished photography really captures the charm of the vehicle – beautiful work!


© Julian Calverley


© Julian Calverley


© Julian Calverley

LPA Photographers / Julian Calverley / Forest

April 15, 2015

Today on the blog we’re sharing some beautiful new images shot by LPA Photographer Julian Calverley.

Working on a new project on forests, Julian shot these ethereal and captivating panoramic images. For the tech nuts the images are made from 3 stitched frames from a ALPA STC & Phase One IQ180 MFDB combo.

© Julian Calverley

© Julian Calverley

© Julian Calverley

LPA Photographers / Julian Calverley / Fischer Verlage / Tana French

March 9, 2015

German publishers Fischer Verlage recently used some of LPA Photographer Julian Calverley’s images for a set of Tana French’s book covers.

Shot as part of Julian’s fantastic #iphoneonly series, the dark and atmospheric images were a perfect fit for these critically lauded crime novels by the Irish writer. Used for the German language editions of the book, have a look out for them if you’re in Germany, Austria or Switzerland!

© Julian Calverley

The Brief / Skoda / Key Parker / Julian Calverley

October 1, 2014

The Brief is a quarterly feature on the LPA blog which takes a behind the scenes look at a photoshoot.


Photographer: Julian Calverley

Client: Skoda

Agency: Key Parker

Senior Account Manager: André Stewart

Creative Director: Al Delgado

Production: LPA Production

Stylist: Charlie Cave (LPA Style)

HMU: Claire Portman & Victoria Poland (LPA Style)

Shoot dates: June 2014

Usage: Skoda brochure, 1 year, UK

For this month’s edition of The Brief we chose a shoot Julian Calverley has recently worked on for the Skoda accessories brochure, through Key Parker.  Julian had shot the images for the previous brochure, so the client knew his distinctively stylised, cinematic aesthetic would work perfectly a second time around.  It’s always great when we get briefs through from repeat clients; so we were excited to get cracking on this production from the word go!

Below are some of Julian’s final shots from back in 2012:


© Julian Calverley / Key Parker / Skoda


© Julian Calverley / Key Parker / Skoda

The Brief:

The original brief was for a 3-day shoot to update the photography in the Skoda accessories brochure, which is used to promote the “thoughtful extras designed for the way you live your life and drive your Skoda”.  The brief called for one set up per day, each depicting a different scenario in which the Skoda accessories range can make life that little bit easier.

The client called on Julian’s powerful, enhanced style of photography to ensure that the brochure would be far from your run of the mill automotive advertising.  His intensely detailed approach lends itself perfectly to this brief, which required the car to sit in the background of each lifestyle set up whilst still ultimately being the focal point the shoot.

The client had provided us with some scamps, detailing each planned scenario:

Day 1:

Subject: A young boy, aged 9 or 10

Scenario: A family day out to the seaside. Mum and dad are relaxing on deck chairs on a quintessentially British beach, whilst their son and daughter enjoy an ice cream/lolly which they have managed to smear around their mouths and drip down their hands. The son is in the foreground, looking to camera, whilst his younger sister, being camera shy and a bit cheeky, is possibly peeking out from behind a large sand castle they have built.

Vehicle: The family’s Rapid Spaceback is parked incidentally in the scene along a raised promenade in the background.

Screen Shot 2014-09-24 at 14.18.37

Day 2:

Subject – Male business executive, aged 40-55

Scenario – Our subject is grabbing a bite to eat for lunch in an organic sandwich bar/deli. He is seated at a table in the foreground, drinking a cup of coffee, and is catching up with a bit of remote working, surrounded by his iPad, smartphone and newspaper. The food and produce on sale in the shop, (eg artisan breads, jars of olives, chutneys, etc), is displayed behind him on tables and shelves. We are looking back through the deli, out to the street.

Vehicle: The businessman’s Octavia vRS is parked over the road.

Screen Shot 2014-09-25 at 10.46.35Day 3:

Subject: A group of 3 young friends, aged 20-25

Scenario: Our fashionable friends are seen leaving a trendy, Art Deco-type cinema in the heart of London. The photograph is shot at night to capture the buzz and atmosphere of the street scene, with a queue of people milling around the entrance. The subject is in the foreground, standing next to her car, whilst her friends are chatting and laughing crossing the road towards her to get their lift home or to move on to their next venue.

Vehicle: the girl’s Citigo is parked on the nearside kerb.

Screen Shot 2014-09-25 at 16.16.54

Upon receiving the brief LPA Production set about preparing the costs and production schedule, and sorting the logistics.  In this case the client organised the talent, locations and permits, shoot vehicles and catering themselves.

The Estimate:

We included:

Photographer’s fees and expenses:

–       Shoot fees to reflect the usage and for 3x shoot days

–       Recce fee

–       Photographic expenses – digi-capture, post production and equipment & lighting


–       1st Assistant

–       Stylist/ Prop Buyer, (including prep, shoot and returns days plus expenses for wardrobe)

–       Stylist Assistant

–       Hair & make-up Artist


–       Transport expenses for all crew

–       Insurance, telephone, couriers etc.

The Preproduction

Once we had received a PO approving the costs, we began on the production.  Our ‘to do’ list looked something like this…

1) Get advance of shoot expenses
2) Confirm dates with Julian and the client.
3) Confirm and brief crew.
4) Confirm wardrobe and props brief plus sizes of ‘models’ from Key Parker for the stylist

5) Prepare call sheets and send to everyone.


Wardrobe and prop styling was paramount on this shoot to make each shot clear, convincing and relatable.  LPA Style’s talented Charlie Cave did an amazing job – we particularly love her use of bold clothing and props to compliment the details in each scenario.

We also brought in LPA Style’s Claire Portman and Victoria Poland to provide hair and make-up, with Claire working on scenarios 1 and 3 and Victoria working on scenario 2.

Claire said:

“We had a sunny afternoon shooting by the seaside and then an evening shoot at the Rio cinema. Both days required a very natural hair and makeup look from me as the brief called for ‘real’ people. It was a pleasure to work with Julian for the first time and great to work with Charlie as always.”

The Shoot

“My first thought when I got this brief was that it was a really bold thing for a car company to do.  I have worked with cars a lot throughout my career so I found it incredibly interesting that they wanted to focus more on the characters than the car itself.  This, I thought, was a great concept because it engages the viewer on a personal level and also stands out simply because it’s not your typical car shoot.  In this sense it was great for both Skoda and Key Parker to have faith in me to do something a little different. 

With this kind of shoot you really have to be able to think on your feet because you have no idea what could happen on the day!  We were lucky to have a great team on board – from Al and Steve at Key Parker to Charlie, Victoria and Claire from LPA Style – ensuring everything ran smoothly on set.  The set up with the young boy at the beach was quite tricky to achieve but he was a star and very patient – it probably helped that there was a constant supply of ice cream though!”

Julian Calverley

Here are the final shots for the brochure:


© Julian Calverley / Key Parker / Skoda


© Julian Calverley / Key Parker / Skoda


© Julian Calverley / Key Parker / Skoda

Photoshoot Glossary

Advance: It is wise to obtain an advance of funds to pay for crew and expenses of shoot that you may need to hire.

Call Sheet: A document detailing all the important details on a shoot: where, when, who, plus contact numbers.

Digi-capture: The process of taking the photos on a photoshoot, capturing the images with a digital camera.

PO: A Purchase Order. A legally binding document from client to supplier detailing the exact services required, authorising costs and detailing all terms and conditions.

Post–production: Digital manipulation of the images after they have been taken.

Prep: (in this case with regards to the styling) Initial preparation for a shoot, e.g preparing moodboards, online research.

Pre-production: The production which takes place before a shoot happens, to make sure everything runs smoothly on the day.

Recce: Visiting potential locations before the shoot to choose the most appropriate.

Returns: When a stylist returns the options of clothes and props which are not used on a photoshoot.

LPA In Focus / Architecture & Interiors

June 12, 2014


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