Can you tell us a little about your journey into the world of photography and what you specialise in today?

I studied photography at school and spent every available hour in the school’s darkroom, developing and printing my own black and white photographs. There was something magical about the analogue process and the delayed gratification of slowly bringing an image to life. After my degree in modern languages, I found work as an assistant to a commercial photographer in London and my career went from there. These days I specialise in Interiors, Fabrics, Furnishings, Product & Lifestyle photography.

What are some key elements that make a strong PR photograph?  

I believe that an impactful PR photograph should tell a story and be relatable, first and foremost. In a world where we are constantly bombarded with the mediocre and the mundane, brand images need to work harder to capture attention. To achieve this, we may use a strong graphic composition or beautiful lighting to augment a scene, or it may be an element of the set design, such as a strong accent colour or quirky use of props. Where possible, I love shooting uncluttered, minimalistic scenes where the product has room to breathe.

In today’s visually driven world, how important is it to have compelling imagery?

It is vital to have distinctive, bespoke imagery to stand out from the crowd. Consumers are brand-savvy and aesthetically extremely literate, so a good way to raise and maintain a brand’s profile is to grab potential customers’ attention with compelling photography. With the advent of computer-generated assets in recent years, photographic authenticity is more important than ever, creating a strong visual language centred on realism and helping to build trust and engagement as consumers prefer to identify with something tangible.

What’s your process for capturing the “story” through your lens? 

It is my role to interpret the brand’s identity as best I can. Everything is usually highly considered, from the initial concepts drawn up by the art director or stylist, to the building of the sets and locking the camera off on the tripod. The camera is generally tethered into a computer with large screen, so every tiny detail of the styling, lighting and composition is pored over before we move on. Great attention is also paid to the overall feel of the images as a set, so they work together as a homogenous whole.

What advice would you give to emerging brands who might be planning their first PR shoot?

The old adage of Quality vs Quantity is key. It’s better to produce a few great images than lots of average ones.

To view more of Jon’s photography, please visit his website: www.jondayphotography.com