From The Royal Family to Editorial Noir: Why I Pivoted to Glamour Photography

On paper, the trajectory seems absurd.

How does a photographer go from being on the Royal Rota, photographing HRH The Prince of Wales and The Duchess of Cambridge, to shooting latex fashion and boudoir content for the adult creator economy?

To the outsider, these worlds seem diametrically opposed. One is steeped in tradition, protocol, and public image; the other is built on rebellion, intimacy, and the private self.

But to me, the pivot was not a contradiction; it was an evolution. After years of documenting history for the national press, I realized I was done with simply recording what was in front of me. I wanted to create it.

Here is the story of how Obsidian Noir was born from the pressure cooker of the British Press, and why my background in the tabloids makes me the safest pair of hands for your private shoot.

The Pressure of the "Royal Rota"

Before I founded Obsidian Noir, my "office" was wherever the news was happening.

I have photographed Prime Ministers (David Cameron, Theresa May), Hollywood royalty (Dame Judi Dench, Brian Blessed), pop icons (Little Mix, Lily Allen), and actual Royalty (Prince Harry, HRH The Princess Royal).

When you are working in that environment, you don't get a “do-over.” You are often given minutes, sometimes seconds, with a subject. If you are on the Royal Rota, your images are being syndicated to publications across the entire country. The pressure to deliver is absolute.

It’s no good fumbling with a camera in that situation. You have to know your equipment so well that changing settings becomes second nature; you don't even think about it.

That high-pressure training ground gave me a technical discipline that most studio photographers never develop. When I am on a glamour shoot today, I am not worrying about my ISO or my aperture. My technical mind is on autopilot, which leaves me 100% present to engage with you, the subject, to ensure you feel safe, directed, and confident.

The Old Convent: Where the Shadows Began

So, why leave the prestige of press photography?

The truth is, I got bored of documenting. Press photography is reactive; you are capturing something that is already happening. I wanted to be proactive. I wanted to control the situation, not just chase it.

The Obsidian Noir signature style, that deep, high-contrast interplay of shadow and light, was born by accident. The building that housed my first studio was sold off and so I moved into “The Old Convent” in Stroud. It was a historic, atmospheric building full of haunting qualities that practically begged to be photographed.

I began testing with models down in the cellars and in the old chapel. I realised that by stripping away the “safe” flat lighting of commercial photography and embracing the darkness of the architecture, we were creating something far more powerful. We weren't just taking pictures; we were building a mood. That was the spark. I realised I could offer a style that was created, not just captured.

The "Mobile Studio" Superpower

One of the biggest anxieties many private clients have is their location. "Can you really make my messy living room look like a studio?"

This is where my years of shooting 6 to 8 newspaper features a day comes into play. In the press world, you are constantly dropped into terrible locations, dull offices, fluorescent-lit community centers, cramped hallways, and you have ten minutes to make the subject look like a star.

It re-wired my brain. Now, when I walk into a client's home, a hotel or an Airbnb, I am subconsciously scanning the room before I’ve even put my bag down. I’m not looking at the mess; I’m looking for the angles, the light fall-off, and the potential scenes.

I learned to use artificial light to destroy the ambient ugliness of a room. That is why a mobile studio works. I don't need a perfect location; I bring the atmosphere with me in my camera bag.

Addressing the Stigma: Business & Legitimacy

There is often an "Elephant in the Room" when a professional moves from mainstream media to the adult and glamour niche.

I view this move as one of artistic integrity and business legitimacy. The "Creator Economy" is a valid, booming industry. Creators are entrepreneurs who deserve the same level of professional visual branding as a CEO or a celebrity.

My transition wasn't a step down; it was a step into creative freedom. In this niche, "Noir" lighting isn't just an artistic choice; it's a business asset. It hides identities for those who need discretion, it creates "high-value" aesthetics for PPV content, and it separates professional brands from amateurs.

The Verdict: Why It Matters to You

When you book a shoot with me you aren't just booking a "Guy with a Camera." You are booking a professional who has navigated the highest levels of media scrutiny.

You are paying for punctuality, reliability, and absolute professionalism. Those are the non-negotiables instilled in me from my days with the regional media and glossy magazines.

But mostly, you are paying for the freedom to create. We will take the discipline of my press experience and mix it with the creativity of the Old Convent.
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We will make you look iconic, because I simply don't know how to shoot any other way.**