commercial photographer  

022 697 1251

every image represents a different portfolio – click/tap to view


Over the 12 years of operating Tim Salix has photographed numerous and varied assignments for business, corporate and industrial customers. He has the experience and necessary equipment to ensure every photographic commission 
achieves the client’s brief no matter what the subject matter, lighting situations or locational difficulties. All photos are supplied as jpegs for use on social media and websites. If the images are also required to be printed, 300dpi high-resolution tiff files will be provided.


interiors and 
architectural photography

Buildings and room interiors require a creative eye and knowledge of composition to photograph. Tim uses specialist architectural tilt/shift lenses to capture natural perspective rather than using a distorting ultra-wide angle lens.

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industrial photography

Tim has the equipment to photograph industrial operations that have poor lighting, dusty or wet conditionsHe is able to advise on the legal use of drones for any given location.

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portrait photography

Head-shots or full-length studio portraiture shoot, all with pure white backgrounds. Tim uses battery powered studio lights for outdoor locations and has specialised portrait prime lenses.

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food photography

Photos from a smartphone are okay for frequent social media updates. However, with promotional material persuading potential customers to dine or purchase off a website it is essential to engage the services of a professional food photographer.

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Tim has a sizeable collection of quality prime lenses ranging from a ultra-wide angle 14mm right up to a super-telephoto 500mm. Why the capital investment in single focal length lenses and not a general purpose zoom lens with built-in multiple focal lengths? 

 

Firstly, when composing photographs with a zoom logic dictates that it is quickest and easiest to vary the lens focal length. Essentially, this ease of use is what ensures this type of lens popularity amongst professionals. However, because the photographer’s decision was to either zoom out or zoom in, the unfortunate tendency is to simply frame the subject matter and surroundings*. With a prime it is possible, with experience, to envision on the same angle-of-view as the lens. So instinctively Tim selects the one that will suit a particular scenario. He then moves around the subject matter to find the ‘sweet spot’ where the visual elements come together to make the perfect composition.  


Secondly, several of Tim’s lenses are designed to accomplish a specific task and this enables him to undertake assignments that would be difficult for a commercial photographer with a zoom (and standard lenses) to fulfil. For instance, with food and product photography he has 6 specialised lenses – three of which are tilt/shift and five are macro enabled. The tilt/shift lenses are also vital for capturing 
architectural and interior spaces. For general portraits, situational portraiture and product/service promotional portraits Tim has 5 lenses in his arsenal, covering every possible scenario.


Lastly, 
a zoom is an engineering compromise in four critical areas. For instance, the glass elements that help control optical aberrations and distortions have to perform under changeable focal lengths. Particularly in high-contrast lighting conditions, there is a greater chance of seeing purple and green fringing on the edges between the bright and dark areas, resulting in loss of detail in the imagery. Secondly, at the wide-angle end of a zoom, there is a tendency to exhibit barrel distortion and at the telephoto end pinhole distortion. Thirdly, on the edges of the frame, a zoom will not be as sharp as a quality prime lens. Finally, having numerous glass elements making up the variable focal lengths,
there is the propensity for zooms to flare when photographing towards a bright source of light. Provoking oddly coloured blotches appearing in the photos and a lack of contrast. There are times when a photographer has to shoot towards the sun or an artificial light source in order to get the perfect composition and in some situations this has to be avoided with a zoom.

 

*This practice is acceptable when the photographer is either moving along a fixed axis or is comparatively stationary and covering a mobile subject (that is constantly moving away and then closer relative to the photographer’s position) and/or when photographing from single to multiple subjects. Such as at sports/concerts/events – in these circumstances, most pros carry two camera bodies to have a prime and zoom lens combination.

all photos © Tim Salix