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Commercial Architectural Photography

“Variety is the spice of life” some wise person once quoted…was it Hugh Hefner I wonder? Architectural photography is a pleasant change from some of the more regular commissions that we undertake and the photography itself may be required for various commercial purposes. In this instance we were commissioned to capture images of a new aged care development in Sydney’s Western Suburbs. Initially engaged by the facility operator Southern Cross Care, to showcase the new complex and to attract residents. Then subsequently by other parties involved in the project, the developer, the architects & the builder, for which the imagery is used to promote their own businesses.

With the Aged Care industry having a rough time in the press recently our angle was to paint a bright and vibrant and sunny feel to the imagery.

Australian Turf Club

The Races magazine – Part 2 – Editorial Photography at Royal Randwick

Following on from the Rosehill shoot, we headed on over to Randwick Racecourse to photograph the New CEO of the ATC Jamie Barkley.

Myself and Andrew were presented with an “access all areas pass” and were able to visit parts of the of the venue ordinarily open only to the inner sanctum. This included walking the track surface itself …. ordinarily reserved for horses and jockey’s.

The assignment was a great blend of a corporate shoot with the spectacle and scale one of Sydney’s major sporting venues. Helped by the fact that Jamie was accessible and generous with his time on what was a particularly warm Summer’s day.

I’ve included pages from the finished article, as well as some images not run in the story.

Both Rosehill and Randwick photo-shoots were commissioned and produced by CMMA agency:

Game of Thrones’ Deborah Riley Photoshoot

With the buzz of the final season of Game of Thrones in the air, what better time to share our shoot with Deborah Riley, Emmy award winning production designer of Game of Thrones.  

Contact, The University of Queensland Alumni and Community Magazine

When the call came in that we would need to photograph a Sydney based University of Queensland (UQ) alumni I never thought that it would be Deborah Riley.

Deborah completed a Bachelor of Design Studies at UQ. She then pursued a Bachelor of Performing Art (Design) at NIDA, National Institute of Dramatic Arts

We’re massive fans of the show here at Studio Commercial, I can tell you that my excitement levels were very, very high… they became even higher when told that she would bring the skull of a baby dragon!!!

Dave, Deborah, & Jas

Let’s not forget that Deborah had an impressive career before she entered the GoT world. Set designer for The Matrix, assistant art director in Moulin Rogue!, provided art direction for the Sydney 2000 Olympics closing ceremony, just to name a few. 

Our aim was to deliver a range of impactful editorial imagery with mood and contrast in our lighting. My interpretation of this was to keep within the Game of Thrones vibe and to tie this is with a theatre undertone.

This has to be one of my favourite shoots for 2018! Winter has come! Dave.

Australian Turf Club

The Races magazine – Part 1 – Editorial Photography at Rosehill Gardens

Recently we had the opportunity to meet and photograph Shaun Patterson, an interesting man with an interesting job at an interesting location.

As the Track Manager of Rosehill Gardens racetrack, he is in charge of the crew of greenskeepers. Who, as it sounds, keeps the place in top shape and looking, well, green 😉

In my mind and from a job satisfaction point of view, an editorial shoot is always going to be up there at the top of the list. Editorial assignments offer the chance to meet and engage with a wide range of interesting people as well as different locations, situations and environments.

Usually the people chosen to be featured in an article are unique and interesting in themselves. It could be that they have an interesting job, or are an industry leader, or have achieved something extraordinary.

When arriving at a new location, there is an element of the unknown. This can be exciting, challenging and sometimes a little nerve racking. On occasion there is the chance to access the inner sanctum. Visit places that are unseen or off limits to the general population. I find this gratifying.

An editorial brief also offers the chance to flex some creative muscle. The imagery is designed to be engaging so the reader is encouraged to do just that…. stop and read the story.  There’s the quest to find interesting backgrounds, angles, shapes, colours and textures. Even with all the preparation in the world, there always seems to be the necessity to “ad lib” and adapt to the situation that presents itself on the day. 

When it all falls into place, that provides the biggest reward.

In Part 2 we visit Randwick and meet the New CEO

Maserati editorial photoshoot for Mindfood magazine

Mindfood double page spread

The brief from the Mindfood magazine art director went something like this: “The images are for a regular editorial feature where a vehicle is tested by an every day person, so we need a feature image of Michael with vehicle, and at least 6-8 support shots with internals and lifestyle close-ups. It doesn’t have to be in a park, in fact since it’s a Maserati, I would think somewhere chic and stylish, but I leave that to you guys to consider based on possibilities.”

After some pre production phone calls with client and subject, and searching street view on google maps, we decided to shoot in the Vaucluse & Rose Bay area. which is in keeping with the prestige of the marque.

There are always factors which are out of the photographer’s control when on location outdoors, one being the weather. In this case it was favourable, lucky as we only had a 2 hr shoot window where the car and subject were available and no real backup options.… phew!

It’s also great to have an accommodating and relaxed subject which was the case with the subject and test driver Michael Merano.

Although car stories don’t feature heavily in Studio Commercial’s regular mix of work, we have a fondness of performance cars so there’s always extra motivation or should that be MOTORvation when the subject matter is of personal interest.

IGA Festive Season Photoshoot

We were enlisted by long time collaborators March One to work with them on the 2018 Christmas campaign for IGA. It was a multi layered brief as it was to cover stills while the TVC was being shot as well as a stand alone 3 day shoot to cover images for the website, social media and catalogue.

Andrew & Dave in action!

Within the brief for social media and website content, we had to create animations and short instructional videos.  For the 3 day shoot we hired a house in Bronte as the location. We were looking for a space that had a kitchen to suit the work and also allow us different areas to shoot in for both the short videos and the stills.

We worked with another long term collaborator of ours, Kai, for the food styling. We were able to do videos and stills at the same time and we kept Kai on his toes making sure the right things were ready and looking their best at the right time. One of the ice-cream cakes wanted to melt very quickly and caused us some issues, for example, but also showed us we needed to do the 2nd one in a different way.

For the stills content, Christmas decorations in the styling were to be kept subtle as it was to be used over the whole summer holiday season not just in the run to Christmas. We used pieces from the “how to” videos we were making to style and decorate the final food products and show in a real way how they can be used. Things like chocolate cups to build the banofie pie in, or how to glaze and carve a ham.

Kai & clients pondering cheese placement

The shoot went fairly smooth all in all with 3 of us from the studio on hand we didn’t run into any real problems.

Kai’s cutlery collection

For the TVC part of the job it was a one day shoot, shot around Taren Point and surrounding areas. One of our main roles on the day was to get behind the scenes shots of the whole shoot and build a library of stills that could be used in various ways to support the TVC. Another role was, between shots, we needed to get some options of stills for a catalogue cover using the talent that was booked for the TVC so it all tied together.

One of the biggest challenges on the day was to work around the very busy  film crew (Ideas of Dean) who had to cram lots of scenes into one long shooting day, so there was no time to stop or for us to hold them up at all.  Add to this how many people were actually involved on the TVC part of the shoot and it made for an interesting long day. In the end we got the shots for the cover that were needed as well as a huge range of other stills that can be used to support the TVC and give the whole campaign a consistent look and feel.

Awesome to work with this guy, so professional.

Cheers, Andrew.

Jeans for Genes Photoshoot


We spent a day photographing the loveliest group of kids for the “Jeans for Genes” campaign through Sydney agency March One.

Shooting alongside the film crew from Ideas of Dean who were filming the ad for TV/cinema/web, we took it in turns to photograph/film each child individually and try and capture their wonderful personalities.  Every child that appears in the print ads has a genuine genetic disease, some of them life threatening.

We came away from the day feeling privileged to have met them all, quickly realising that we take so many little things for granted which these kids can’t.  Jeans for Genes Day is coming up on Friday 3rd August (tomorrow!!), please give generously if you can – Jason.



CEO Photography

Photographing CEO’s and Executives is a Studio Commercial specialty.

A typical photo-brief in this genre, often runs something like this:

 “Capture a range of eye-catching environmental portraits that are both flattering and creative. They should suitable for use across multiple formats and applications such as press releases, websites, and annual reports. Oh, and by the way, our subject only has half an hour available in their schedule!”.  

Clearly, the more time we have, the more options we can explore. But given the trend of underlying urgency, we have developed methods that allow us to maximise whatever we have available. Years of experience have allowed us to arrive at a location and choose the best spots  and bring together creativity, communication, and technical skills.

Often, commissioning a photographer can be a daunting task for the person who’s job it is to do so, especially if they’re new to the role. We’d love to be involved in your project so you can breath easy, safe in the knowledge that you are in the best possible hands.

As my Dad used to say “the proof of the pudding is in the eating” here are some CEO  imagery we have recently captured. We hope you enjoy:) 



Ferrero Rocher “Unwrap Magic” photoshoot

It’s been a while since our last Blog Post as the team at the Studio Commercial have been all consumed with the trials of renovating our new premises and the logistics of moving an entire studio (more on that later)

In any case for the Christmas period, we photographed a series of promotional pieces in our studio for Ferrero Rocher.

I say “we” as these  type of shoots are very much a team effort with assistants, art directors, stylists etc.

This was a very enjoyable and rewarding shoot, and as you can imagine there were certain perks to the assignment, especially for those in the team like myself who are addicted to chocolate 🙂

Refreshingly in today’s age of of digital magic, the two “unwrap magic” shots (destined for print) were captured in one set and in one shot (almost).

The “Countdown to Christmas” imagery, (which was destined for online and TV use with some animation) was photographed in stages so that various image elements could be moved easily in post production.

Client: The Kinetic Agency.

Toshiba X20

The Toshiba X20.

Earlier this year we photographed the Toshiba X20 for a promotion in print, on the web and for brochures under direction from advertising agency Vitamin X Creative at Bondi. 

Shooting electronic goods is certainly rewarding and achieving the required slick finish was challenging. I think perhaps this is because like the products themselves, the shots need to be extremely precise and clean.  The real products surfaces are highly reflective and tend to highlight any fingerprints and any slight specks of dust. This probably why many of these type of images are often computer generated themselves.

Having said that, retouching was certainly part of producing the final images, most of which was carried out out in house here at Studio Commercial.

Toshiba’s X20. The new, high performance convertible that delivers on every level.


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