I am a professionally trained commercial photographer with over 10 years of experience specialising in portrait photography across two commercial photography studios. I hold a Certificate III in Commercial Photography from TAFE NSW and a Bachelor of Visual Arts from Western Sydney University.
My strength is creating high-end, professional portraits while making the people I photograph feel completely comfortable in front of the camera. I have an easy-going and approachable personality that allows me to connect quickly with people from all backgrounds and put them at ease, even when they are not naturally comfortable being photographed.
I understand that great corporate portraiture is about more than just lighting and technical skill. It is about creating the right environment, giving clear direction and bringing out a natural confidence in the person being photographed. My approach is relaxed and personable, while the final images remain polished, sophisticated and commercially focused.
I am highly experienced in studio, natural-light and location photography, including complex lighting setups and mixed-light environments. I am confident adapting to different locations, people and briefs while maintaining a consistent, high-end standard.
My experience in corporate portraiture has given me a strong understanding of professional environments and the importance of representing both the individual and the organisation at the highest level. I also hold a current Commercial Remote Pilot Licence (RePL <7kg), Aeronautical Radio Operator Certificate (AROC) and Working with Children Check.

Business portraiture is built on relationships. When working with organisations and their staff, the goal is not simply to create a great portrait on the day, but to build a long-term relationship that allows you to return year after year and maintain a consistent visual standard. Staff photography needs to remain cohesive as teams grow and change, so I place a strong emphasis on keeping the lighting, background, camera angle and overall look consistent from one session to the next. As new staff members join and others move on, their portraits should feel as though they belong to the same collection. One of the most important elements is consistency in posing: positioning each person at the same angle, facing the same direction and working towards the same natural, friendly expression. Achieving this with a wide range of personalities is a skill in itself. I focus on making each person feel relaxed and comfortable, while confidently directing them into the required pose. The result is a portrait that meets the organisation's visual requirements, while also making each individual feel good about their photograph and proud to continue using it.

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Editorial portraiture has been a major part of my career, and it has taught me how to produce strong, considered portraits when time, space and resources are limited. I regularly worked with Insurance News throughout my career, photographing subjects during their interviews before having just 10–15 minutes to create a cover image and a small series of editorial portraits around their office. There was no time for elaborate setups. I had to walk into an environment, assess the light and location, make quick technical decisions and establish a connection with the subject immediately.
One assignment that demonstrates this particularly well was photographing the head of a major insurance company who had just flown in from the United States and had a tightly controlled schedule. The brief was to create a portrait that presented him as a strong and confident figurehead, along with portraits of him with the senior Australian executives. Every image also required his personal approval before publication. This was the third time I had photographed him, and he had specifically requested me for the assignment — a reflection of the trust built through previous shoots. Working repeatedly for Insurance News until the magazine was sold when its owners retired gave me the opportunity to build long-term relationships with both the publication and the people I photographed. Editorial work has made me highly comfortable working under pressure: I can quickly put people at ease, identify the strongest location, control the available light and direct a subject confidently — all while knowing that there may only be a few minutes to get the image that matters.

This portrait, Fiona, was selected as a finalist in the Head On Portrait Prize and exhibited as part of the finalist exhibition at the Australian Centre for Photography. Being selected for the exhibition recognised the portrait's strength as an individual piece of photographic work.

This portrait of Olympic swimmer Duncan Armstrong was a finalist in the City of Bankstown Portrait Prize, presented as part of the Archibald Prize program at the Art Gallery of New South Wales. The portrait was an opportunity to create a strong, character-driven image of an accomplished athlete beyond the usual sporting context.

This portrait is of Paralympic runner Amy Winters. The image explores her personality and strength through a more considered portrait approach, focusing on character rather than simply documenting her as an athlete.

This portrait was of the CEO of Allianz Australia, photographed with just 20 minutes available from start to finish. I was responsible for selecting the location within the office, setting up the lighting and directing the portrait within that tight timeframe. I used a single portable light as the key, working with the existing natural light as fill. The shoot demonstrates my ability to work quick

Throughout my career, I have photographed the mayors of the City of Ryde, traditionally creating formal portraits in their ceremonial robes.
For this portrait, the mayor wanted something different. We moved outdoors into one of Ryde’s parks, using the natural green surroundings as the backdrop.
The challenge was to create a portrait that felt contemporary and personal, while still retaining the form

This group portrait of the staff at Alpine Nursery took a little planning before we brought everyone together.
We selected a clean, well-presented area of the nursery that showcased their plants, while also finding the right position for the camera and a cherry picker to give me the height needed for the shot. We carefully considered the track position, natural light and sun direction to make sure

This portrait was created for a rural real estate buyer who wanted something friendly, relaxed and connected to the rural properties she sells.
It was important to her that her horse was part of the portrait, helping tell the story of her connection to the rural lifestyle. We created a series of portraits across her property, capturing her naturally in the environment she loves.
She was thrilled wit
Kim Thomson
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