Commercial
Commercial work has to do two jobs at once: sell the product and stop the scroll. I shoot campaign, e-commerce and brand imagery for activewear, beauty, fashion and lifestyle clients, and I build every shoot around the brief: who the customer is, where the images will live, and what they need to feel when they see them. From concept and casting to lighting, direction and final edit, I handle the whole process so you get a consistent set of images ready for web, social and print.
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This frame from a recent activewear shoot in autumn 2026 sums up how I like to work. The pool-blue tiles, hard flash and all-white set keep the colour story clean and graphic. The sweat, the mid-ride pose and that direct stare into the lens add real effort and attitude. The kit stays the hero, but the image feels like a moment rather than a product listing. Because I’ve spent years modelling for brands myself, I know how to put talent at ease and get those moments quickly, which means more usable selects from every hour on set.
Joshua Morley; Summer Tailoring, London
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Three frames built to sell garments rather than a mood. The cream linen suit runs as the hero: full-length, straight to camera, shot on stone steps that give the frame depth without pulling focus off the tailoring. Everything a buyer needs to judge is legible; the lapel roll, the button stance, where the trouser breaks over the shoe. The navy linen shirt and white trousers work the same brief in a warmer key, flat enough light to read the weave and the way linen creases when it's worn rather than pressed. Joshua Morley is well cast for this: broad enough to fill a jacket, and still enough in front of a lens to hold a pose while the drape settles.
The library frame is the range shot. It's still a garment pose; belt, tuck, and pleat all deliberately on display; but the environment does enough work that it can run as a campaign image instead of a catalogue plate. Together the three cover the spread most clients want from a single day: a clean hero, a colour alternative, and one frame with somewhere to put a headline. I handled every stage in London; concept and shot list, casting, styling, lighting, direction on the day, and the edit.
This set with Craig leans into everyday, wearable styling; the kind of imagery built for catalogue and lifestyle use, where the clothes need to feel real and the pose needs to feel unstudied. It was shot as a test run for us ahead of future collaborations.
In the first look (the photo on the right), Craig pairs a relaxed off-white overshirt with a plain tee, straight-leg denim, and brown loafers. Hands in pockets, weight settled evenly; a simple, grounded stance that keeps the focus on fit and fabric rather than performance.
The second look (the photo on the left) shifts smarter: a crisp white tee under grey pinstripe trousers, with a tan jacket slung over one shoulder. It's a classic transitional pose; jacket off, sleeves down; that reads well for smart-casual or workwear-adjacent commercial use.
Craig Mulgrew
Commercial Test Shoot
Credits
Photography, direction & retouching: Samira Salehi
Model: Craig Mulgrew
Together, the two looks show Craig's range within a single register; comfortable in denim, just as at ease in tailoring; which is exactly what makes a set like this useful for commercial casting.
Two portraits, two ends of the same color story. In the first, deep red dominates; dress, lip, and a single carnation held with quiet deliberateness against a warm, neutral backdrop. I built the whole frame around that saturation, using soft directional light to keep skin tones warm without letting the red overwhelm the shot, then let Caelyn's steady, direct gaze anchor the composition so the flower reads as a considered detail rather than a distraction. I handled every stage myself, from prop selection down to color grading, keeping the red consistent across dress, lip, and stem so the whole image feels like one deliberate palette rather than three separate choices.
The second portrait flips the mood entirely, trading warmth for a near-black backdrop and cream satin that catches the light instead of absorbing it. Here the red lip becomes the sole point of continuity; the one warm note against gold jewelry, ivory fabric, and deep shadow; while Caelyn's raised arm and over-the-shoulder glance bring in movement and tension that the first image, with its stillness, doesn't have. Shooting, styling, lighting, and retouching were all mine on this one too, and pairing it with the red-on-neutral portrait was intentional: together they show the same face and the same red lip working in two completely different tonal registers, which is really the range I wanted this pairing to demonstrate.