Our sport and action man James Cannon recently shot this fantastic series for Soar running. He's a real storytelling photographer, and gets you right into the action.
Here's a set of shots taken by our amazing food photographer Holly Pickering. Working with renowned stylist Kelly Bowers, Holly wanted to capture real food, in all it's messy, natural glory.
Check out her full folio, she's amazing, a food photographer and so much more.
We asked our photographers to talk about their inspiration - here's our tech specialist Richard Seymour talking about the one and only Stanley Kubrick...
I have to say that the main inspiration for choosing a career in the visual arts came from cinema rather than stills.
My photography course at The University Of Westminster devoted quite a large proportion of time to the study of film as a device to inform our stills practice.
Weeks were spent discussing Hitchcock’s Rear Window.
It was the story of an injured photojournalist observing the dramas of inner city life from his New York Apartment window and was an interesting social comment on observing the world through a lens.
The defining moment for me however was in my teens when I watched a TV transmission of 2001 A Space Odyssey by Stanley Kubrick.
Having read the Arthur C Clarke book I had already visualised much of the narrative in my head but seeing it on celluloid was a revelation.
Kubrick’s use of symmetry and especially one point perspective left a powerful impression.
He had a fondness for elaborate set building - the rotating crew sleeping bay in the film for instance was 38feet in diameter and cost $ 750,000 alone.
His choice of optics - often extreme wide angles and a cinematic style of long locked off shots spanned across all of his work.
In 2001 A Space Odyssey this obsession with creating a modern world, unimagined before has inspired me throughout my career as I capture technology in all its shiny metallic beauty.
I was actually a little shocked when revisiting the film for the first time in about a decade to see the power he still has to this day on my shooting style.
Kubrick was never scared of using cutting edge technology and breaking purist conventions - again something that I also believe is important in pushing the boundaries of image creation today.
Generations of photographers and filmmakers cite Kubrick as a major influence - and with good reason, he was quite simply exceptional.
Here's a link to a great film about Stanley -
Our people and portrait photographer Jon Enoch talks about two photographers who have inspired him....Eisenstaedt and Karsh. Over to Jon....
As a 21 year old backpacker I found myself in the giftshop of the MOMA New York. I picked up a book on Alfred Eisenstaedt.
His images blew me away. I had no interest in photography at all up until this point; it really was like a bomb going off in my brain.
His pictures, especially his portraits had a life to them, an energy that jumped off the page - interwoven through some of the most iconic dates of the 20th century.
It was a heady mix and I was in awe of them. I had become obsessed; there was something so reassuring about discovering that Eisenstaedt and his contemporaries had just gone out and done it - no training, no degrees, no courses.
It really did seem like a career where all that mattered was the pictures. I bought a camera on my return home with my student loan and six years later I was working in London for The Times.
It was around this time I discovered Yousuf Karsh. It was a time when I was landing advertising and commercial assignments.
There was something of Eisenstaedt in his images but his approach was very different. Whist Eisenstaedt relied on capturing moments of magic, Karsh brought the magic with him in the form of light.
Karsh’s lighting amazed me - still does - when you look at his body of work today it holds up so well.
His 1957 portrait of Ernest Hemingway could have been taken last week for a magazine cover or campaign in the UK or US.
His lighting is at times technical but for me it never blocks engagement. He's not employing clever tricks for the sake of them.
The image is still all about the subject. There is a directness. His pictures hit you straight between the eyes - no nonsense.
Richard Seymour shot the new Havas Worldwide head office, HKX, a few weeks ago.
The brief was to capture the essence of their astounding new building in Kings Cross, a selection of architectural interiors inter dispersed with some candid images of the teams at work.