Mirza Amirul Islam is a Marketing Executive at bZm Graphics, a post-production company specializing in high-end retouching.

Inspiration That Lives in Personal Perspective

For Matt Jones, style isn’t something built from scratch — it’s something gradually uncovered. He believes every photographer’s visual voice already exists within them — the process is simply learning to listen.

He studies images that stop him in his tracks, then trusts his instincts on set. If an idea flashes across his mind, he shoots it. Sometimes it works. Sometimes it doesn’t. But when it does, it becomes part of his style.


In this intense poster shot for a production of Romeo and Juliet, two lovers are captured in a dramatic, upside-down embrace, a silver crucifix hanging between them. The theatrical lighting and razor-sharp framing turn a single fleeting moment into pure narrative electricity — the perfect example of Matt trusting his instincts to create portraits that make an unforgettable statement. 

Every shoot begins with a single idea — understanding the person in front of the camera, as Matt Jones approaches each portrait with a clear intent: what statement are we making about this person?

“With portraiture, whether it’s commercial, editorial or personal, the goal is always to make a statement about the person or people in the frame.”

He talks to the subject, agrees on the tone, then sketches the key shots by hand. These rough drawings become lighting diagrams, lens choices, and directing notes — flexible enough to evolve when the day throws surprises.That flexibility is deliberate.

Unexpected changes of plan on the day provide an opportunity to adapt the ideas into something much more unique.

This commercial portrait of an older gentleman in a hoodie and “165th Floor” cap shows the result: a calm, lived-in gaze that feels both relaxed and powerfully intentional — exactly the kind of targeted statement Matt builds through careful pre-production.

Matt is refreshingly honest about gear. Sometimes it’s essential. He once needed a super-wide lens to include a 60-metre rollercoaster behind a portrait — no other focal length would have worked. But most of the time he treats equipment as a creative constraint, not a crutch.

Equipment can very easily become a crutch. Every brand out there is making lenses, lights, sensors and modifiers which can do just about everything, and when there are unlimited options available it can be hard to decide where to start. It’s great for creativity to have constraints.

Some of his favourite recent studio portraits were lit with a flash, an adapted fresnel, and a shower curtain hung on a clothes rail. The setup looks ridiculous. The light looks like window light from heaven.


In this quietly commanding studio portrait, a young man with a buzz cut looks straight into the lens, arms folded. The soft yet sculptural light wraps around his face and jacket with beautiful precision — the exact result of that improvised shower-curtain diffuser and Matt’s refusal to let equipment dictate the vision.

Whether he’s shooting on a moving bus or in the middle of a screaming crowd, Matt’s camera finds the heartbeat of the scene.


Stefflon Don stands triumphant on top of a moving bus at night, pink hair flying, bottle raised, flags whipping behind her. The energy is electric, the composition chaotic yet perfectly controlled — pure instinct meeting pure celebration.

While preparation defines the foundation, the final image is often shaped by what happens in real time. Unexpected changes — whether in light, environment, or subject — aren’t interruptions, but opportunities.

They provide a chance to adapt ideas into something more unique.

performs surrounded by a blur of fans, his red jacket popping against the motion. The shallow depth of field and crowd energy turn a single second into an unforgettable portrait of stardom.

Matt Jones (Trading under ‘Photography by Matt Jones’) is a self-taught London-based portrait photographer with 7 years of professional experience. He creates images with a clear message or feeling, while celebrating the subject of the photo.

Instinct, Process, and Perspective — A Conversation with Matt Jones

Inspiration That Starts with Street and Motion

Luis draws inspiration from street photography and film, focusing on in-between, unposed moments in motion—shaped by documentary-style photographers like 

“I really love street photography and film. The best moments are always the in-between ones, those little spaces between situations or poses, and you only really find that in motion. I’m really into fashion photographers who had a more documentary kind of vision, like Helmut Newton, Peter Lindbergh, or Bruce Weber.

Building on that, Luis Barta brings a documentary edge to bold, colour-driven fashion and product work to create imagery that feels authentic, dynamic, and purposefully crafted for brands and studios.


In the split-second between takeoff and landing, everything Luis Barta chases comes together: raw motion, bold colour, and that electric “in-between” feeling you only catch when someone is actually moving. No perfect pose, no studio polish — just genuine street energy, saturated sunlight, and a leotard that pops like a fashion editorial dropped straight onto the crosswalk.



Where Client Brief Meets Creative Vision


Every shoot begins with the client’s needs, but Luis brings his own perspective into the mix. By identifying each brief’s core elements, he builds a clear structure for what follows.

“It always starts with the client’s requests and figuring out how to bring those requirements closer to my own point of view. Every client brief has certain core roots or key factors, and if you know how to pull those out of what they’re saying, they let you build a clear structure for the steps that follow.”

Within every brief, there are underlying ideas waiting to be shaped. By identifying those core elements, Luis builds a clear structure that guides the entire shoot—balancing client expectations with personal perspective.


In this vibrant beach moment, a young woman laughs freely, hands in her pockets, as her colourful bikini top and patterned trousers catch the sea breeze and sunlight. The confident pose, vivid palette, and natural sense of movement elevate the image beyond a standard brief— proof of how Luis blends client direction with his signature street-inspired style.

For Luis, the idea always comes first,gear simply supports it. In a time when equipment is often overemphasized, his priority remains clear.

 Vision is always the deciding factor. Having better gear helps a lot because it gives your vision fewer limits.

Equipment plays a supporting role—but never defines the outcome. What matters most is the ability to see, interpret, and translate an idea into something visual.


In a vast desert under blazing sun, a model stands in a shimmering sequin top, her head enclosed in a giant transparent bubble helmet that reflects sky and clouds. The image feels futuristic yet grounded — a perfect example of how strong vision turns gear into something magical rather than letting gear dictate the shot. 

Luis believes the strongest product shots feel balanced and guide the eye naturally. In his approach, clarity and visual flow take precedence over complexity.

“More than anything, it’s about the image feeling balanced as a whole and having a clear visual entry point, with a path the eye can follow naturally.”

Images aren’t consumed at once,they’re experienced. The eye moves from one point to another, building understanding along the way. When that movement feels intentional, the image becomes more engaging.



Hands raise crystal glasses in a cheerful toast beside chilled Royal Bliss bottles, catching warm golden light. The composition flows effortlessly from the clinking glasses down through the vibrant flavours and labels — balanced, inviting, and alive. Pure proof that a product shot can feel alive when every element has order and flow.This is exactly the kind of compelling product imagery Luis aims for.

The industry is evolving,but not always in the right direction.Luis has seen a clear change in the industry and he believes it’s heading in the wrong direction.

I think it’s a mistake. With how many platforms there are now and the constant need to make an impact, clients are sacrificing image quality for image quantity. I think that is a long term mistake, because increasing the number of impressions while lowering the quality ends up hurting your product compared to other brands that stick to the idea that less, done better, is worth a lot more..

The demand for constant output has led to a focus on volume—often at the expense of refinement. But over time, this shift can weaken how a product is perceived.

Luis Barta is a Madrid-based fashion and e-commerce photographer known for clean, impactful imagery. He has worked with leading publications and global brands like Coca-Cola and Royal Bliss, blending editorial style with commercial precision. His work focuses on clarity, balance, and strong visual identity.

By Mirza Amirul Islam

By Mirza Amirul Islam

Mirza Amirul Islam