LPA Futures / Holly Pickering / Studio Crême / Chez Antoinette

October 9, 2014

LPA Futures Holly Pickering was recently commissioned by Studio Crême to shoot some beautiful interiors and delicious food for Chez Antoniette.

Recently opened in Covent Garden, Chez Antoinette serve all manner of French treats, specialising in delectable tartines (open sandwiches). Holly brought her sensitive and creative approach to the project, shooting some lovely aerial shots and capturing the Parisian decor in all its glory. We will be definitely heading down to try some of this French fare!

© Holly Pickering

© Holly Pickering

© Holly Pickering


LPA Photographers / Nick David / Addison Group / Perfetti van Melle

October 7, 2014

While you might not have heard of Perfetti van Melle, you’ll definitely recognise their range of products which include Chupa Chups, Fruittella, Mentos and Smint.

LPA Photographer Nick David was recently commissioned by Addison Group to shoot some fun and playful lifestyle imagery for the multi-national confectionary company. Shot at a beautiful location house in East Finchley, Nick worked with LPA Style’s Charlie Cave and Claire Portman for an all-round team effort. We love Nick’s natural style and his real talent at capturing kids being kids.

© Nick David

© Nick David

© Nick David


New Office / Temporary Number

October 6, 2014

We were all very excited to let you know that from today we have a stunning new office in an expansive deconsecrated church in leafy Camden.

However while we are here and settling in, BT have certainly put every hurdle in our way to get a phone number in place! We will have a new line in a couple of weeks or so, though with BT you never know… In the meantime if you could please use our temporary number to get in touch with us +44 (0) 20 7267 4913.

Apologies for any inconveniences caused – blame BT!


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.

Ask an Agent / Model fees for Moving Image

September 30, 2014

Ask an Agent is a regular monthly column that answers all your dilemmas about the business of photography – like a photography agony aunt. Whatever area of the industry you are in, or at whatever level, if you have any questions you’d like to ask please send them to askanagent@lisapritchard.com


Dear Ask an Agent,

I am preparing an estimate for a shoot which involves stills and moving image. My question is, apart from my own fees and equipment for moving image do I need to allow for extra for the model fees?

Darren Orange, photographer, Leeds.

Hi Darren,

Whenever you are preparing costs or booking models be very clear about the final usage as this is the one area that can come back and bite you on the bum!

The thing to do is put the exact end usage in an email to the model agencies when you are gathering your costs. So even though it may be online and digital content, 2 years, for example, you should also clarify that this will involve stills and moving image. Then if you do get the job, put the usage in writing again along with the fee available based on your previous research and agreement with the client, and check the model booking forms have the correct information. I know I might sound a bit paranoid but I’ve had several instances where models have attempted to charge more after the shoot as they misinterpreted the usage, and if it’s set out in writing they don’t get very far.


© Julian Love

Some model agencies might not charge any extra for moving image whilst some will, and it’ll be sods law that your client will want to use models from the agency that charge extra. As with any suppliers, we always get a number (usually 3) of quotes to check that we are in the right ball park and quote the client somewhere in between, or what we think is achievable within the clients budget and nature of the shoot.

I was recently quoted a day rate of 18K from one model agency for a small corporate job which involved moving image on the clients website, needless to say I didn’t think it a good idea to include this figure in my estimate if I ever wanted to hear from my client again! As I say most agencies quote pretty reasonable fees for moving image for digital content and at the end of the day it’s going to be your client who dictates the model fees available, not you – something which model agencies often fail to acknowledge.

Please Note:

We reserve the right to shorten questions due to space constraints.

We reserve the right not to enter into on going correspondence.

We reserve the right not to answer all questions.

Please state whether you would like to remain anonymous.

This advice should be taken as a guide only. Lisa Pritchard and LPA take no responsibility for any omissions or errors. Please seek professional legal advice should you require it.

LPA Photographers / Patrick Harrison / Departures Design / Welsh Government

September 29, 2014

LPA Photographer Patrick Harrison has been continuing his work with Departures Design and the Welsh Government, heading to The National Eisteddfod of Wales to capture the excitement of the event.

A multi-disciplinary cultural festival, the Eisteddfod brings together the best of theatre, music, the visual arts and much more. Patrick traveled to the quaint village of Meifod, Powys where the event is held and came back with some lovely, natural images which capture the British summer perfectly.

_V9R9293© Patrick Harrison

_V9R9804© Patrick Harrison

_V9R9613© Patrick Harrison


LPA Photographers / Rowan Fee / Men’s Health

September 25, 2014

Rowan Fee was recently commissioned by Men’s Health to shoot a selection of very special trainers.

Rowan shot these eye catching images for a feature on free running in the August issue of the magazine and worked with his fabulous retouchers to make sure the images looked flawless.

© Rowan Fee

© Rowan Fee

© Rowan Fee

© Rowan Fee

© Rowan Fee

© Rowan Fee

LPA Futures / Oliver Haupt / Havas Madrid / Canal de Isabel II

September 24, 2014

LPA Futures Oliver Haupt was recently commissioned by Havas Madrid to shoot this great image for Canal de Isabel II, the company who manage water supplies in the Spanish capital. 

Encouraging customers to use water responsibly, Oliver combines his amazing post-production skills with an innate talent for working with kids. Lovely work as always Oliver!

© Oliver Haupt

LPA Photographers / Sam Stowell / Good Food Magazine

September 23, 2014

LPA Photographer Sam Stowell is giving us major lunch envy with these delicious shots from Good Food Magazine‘s September issue.

Working with food stylist Sarah Cook, Sam juxtaposes the minimal background with the intense colours and tempting textures of the food, making it stand out in vivid detail.

baked blue cheese with figs and walnuts

© Sam Stowell


© Sam Stowell


© Sam Stowell

© Sam Stowell

© Sam Stowell

LPA In Focus / Overseas Shoots

September 22, 2014


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31 Oct 2014