Shooting the Lowes Autumn Winter Campaign with some amazing talent and celebs
Lowes Photo shoot
The reasons I love my job – 4am wake up calls , 2 hour drive to location , 10 hours on set in 32degree heat , working with the incredible team of stylist, make up artists and producers, talent and celebrities in exotic locations
And its all in the planning and pre production meetings and briefings that make the magic happen on the shoot day, after which its pack ups , long drive home, file selection, processing, archiving and edits and the buzz of seeing the results in-store and on line.
Shooting Fashion and Apparel Clothing with Richard Weinstein Photography for Lowes Lowes Photo shootShooting Fashion and Apparel Clothing with Richard Weinstein Photography for Lowes Lowes Photo shoot
Thanks to my team and #godox portable flash lighting used as a fill for shadows
Michael Brennan and Jaclyn Hnitko on Hair and Make Up
Kelvin Harries Styling
Models and Talent Darryl Brohman , Bill Harrigan , Reid Polak , Josh Reynolds , Jess Sergis
Many thanks to Elizabeth Dornan and Joseph Kessel
Lowes Photo shoot
A brief History of the brand
Lowes Manhattan Pty Ltd is a private, family-owned leading Australian menswear and retail chain established in 1898 by William Lowe. There are now over 200 stores nationally
Lowes is excited to facilitate learning opportunities and initiatives through interactive apparel.
The new Learn our Land hoodie features an interactive map that encourages a deeper understanding of Australia’s shared history, in order to make people feel hopeful for the future.
Lowes wants to support education that contains concepts to provide Aboriginal and Torres Strait Islander perspectives that go beyond Naidoc week, which has been celebrated since 1975.
smelling it before sipping this is a drink for the senses ” The tradition comes from the south of Mexico and was created on their flag day. One would take a shot of the verdita, followed by the tequila, and finishing with the sangrita,
To make the verdita, put all the ingredients into a blender and blitz until well-combined. Strain into a 700ml bottle through a fine mesh strainer or cheesecloth and chill until cold.
STEP 2
Once the verdita is well-chilled, serve it in a 25ml shot glass alongside the mezcal.
The Jewellers Association of Australian is proud to present the 27th instalment of the JAA Australasian Jewellery Awards. They celebrate and recognise design, innovation, craftsmanship and marketability in the jewellery industry. They are the ultimate industry awards that reward creativity, skill and technique – the most distinguished program for the Australian and New Zealand jewellery community. The JAA Australasian Jewellery Awards are the longest running local jewellery design and manufacture competition in Australia and is the only industry run awards program encompassing all sectors.We invite you to view the 2023 Awards video, where we go behind the scenes on judging day and showcase the winners and finalists.Congratulations and thank you to all winners, finalists and entrants for entrusting the JAA to showcase your talent and incredible skills. Thank you to our judges Michael Muratore, Debbie Sheezel and Cameron Mitchell for their expertise and tireless efforts in selecting the finalists and winners, whilst giving each entry the attention it deserves. Our gratitude extends to the sponsors of the Awards, who without their generosity and support the Awards program would not be possible. Thank you to Richard Weinstein for the Photography
When everything comes together, the results are pure magic.
On a recent campaign for Palomino Jewellery shot on location in Toowoomba, Queensland, the stars truly aligned. We were treated to breathtaking sunsets, wild horses, beautifully weathered props and accessories, surprisingly cooperative bulls, and our incredible model, Mia.
A huge thank you to David Benn for bringing it all together, and to Palomino Jewellery for creating such distinctive pieces that made every frame shine. Shoots like this are a reminder that while great photography takes planning, sometimes nature adds the finishing touch.
Many clients are looking specifically for product images:
Jewellery product photographer
Diamond jewellery photographer
Watch photographer
E-commerce jewellery photography
Jewellery packshots
Ghost mannequin jewellery photography
White background jewellery photography
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Fashion & Lifestyle Searches
Brands launching collections often search for:
Jewellery campaign photography
Jewellery lifestyle photography
Jewellery lookbook photographer
Jewellery editorial photographer
Jewellery model photography
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Jewellery content creator
Luxury brand content
Marketing-Focused Searches
Marketing managers often search by outcome:
Jewellery content creation
Luxury brand photography
Social media content for jewellery brands
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Jewellery catalogue photography
Jewellery launch campaign
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AI & Modern Search Phrases
Increasingly, people search using natural language:
Best jewellery photographer in Sydney
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Who photographs jewellery campaigns?
Fashion photographer for jewellery brands
Photographer for jewellery e-commerce
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High-Intent Keywords
These are the terms most likely to attract clients ready to hire:
Jewellery photographer Sydney
Luxury jewellery photographer
Commercial jewellery photographer
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Fine jewellery photographer
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Content Ideas That Rank Well
If you’re building your website or blog, create articles around topics like:
How to Choose a Jewellery Photographer
Behind the Scenes of a Luxury Jewellery Campaign
Studio vs Location Jewellery Photography
How Great Photography Increases Jewellery Sales
The Process of Photographing Diamonds and Gemstones
Creating Editorial Jewellery Campaigns
Jewellery Photography for E-commerce vs Luxury Advertising
What Makes Luxury Jewellery Photography Different?
Case Study: From Concept to Campaign for a Jewellery Brand
How to Prepare for a Jewellery Fashion Shoot
Because your work combines fashion, luxury, and commercial storytelling, I’d position you as more than a product photographer. Your messaging should emphasize campaigns, branding, and creative direction.
A homepage headline like this can help differentiate you:
Luxury Jewellery Photography for Brands That Want to Be Remembered
Editorial campaigns, e-commerce collections, and brand storytelling crafted to showcase exceptional jewellery with elegance, precision, and impact.
If you’re a small business selling products online, your product photos are often the first impression customers have of your brand. Whether you’re selling through your own website, Shopify, Amazon, Etsy, or social media, high-quality photography helps build trust, showcase your products, and encourage more sales.
The good news is that improving your product photography doesn’t always require a huge budget. Here are some practical tips to help your products stand out.
Lighting is the foundation of great product photography. Whenever possible, photograph your products near a large window using indirect natural light. Avoid harsh midday sunlight, which can create strong shadows and blown-out highlights.
If you regularly photograph products, investing in studio lighting or softboxes can provide consistent results regardless of the weather.
2. Keep Your Background Simple
A clean background keeps the focus on your product. White backgrounds are ideal for ecommerce stores because they create a professional appearance and meet the requirements of many online marketplaces.
Lifestyle backgrounds can also work well when you want to show your product in use or communicate your brand’s personality.
Photo shoot Sydney
3. Show Multiple Angles
Customers can’t pick up and inspect your products online, so give them as much information as possible through your images.
Include:
Front view
Side view
Back view
Close-up details
Packaging
Scale reference
Lifestyle images showing the product in use
The more complete your gallery, the more confident customers will feel about making a purchase.
4. Focus on Sharp Images
Blurry photographs reduce confidence in both your product and your business.
Use a tripod whenever possible, keep your camera steady, and ensure the most important features are perfectly in focus. Crisp, detailed images communicate quality and professionalism.
5. Maintain Consistency
If you’re photographing multiple products, keep your style consistent.
Use the same:
Lighting
Camera angle
Background
Editing style
Image dimensions
A consistent catalogue creates a polished shopping experience and strengthens your brand identity.
6. Don’t Over-Edit
Editing should improve your images, not change the appearance of the product.
Adjust exposure, colour balance, contrast, and remove dust or minor imperfections while ensuring the product accurately represents what customers will receive.
7. Include Lifestyle Photography
While white-background images are essential for online stores, lifestyle photography helps customers imagine owning or using your product.
Lifestyle images tell a story, create an emotional connection, and often perform well across websites, advertising campaigns, and social media.
8. Optimise Images for Your Website
Large image files can slow your website, affecting both user experience and search engine rankings.
Before uploading images:
Compress files without sacrificing quality.
Use descriptive filenames, such as handmade-soy-candle-product-photography.jpg.
Add descriptive alt text to improve accessibility and support search engine optimisation.
9. Invest in Professional Product Photography
While smartphones can produce impressive results, professionally photographed products often make a noticeable difference—especially for premium brands.
A professional product photographer understands lighting, composition, colour accuracy, styling, and post-production, delivering images that elevate your brand and help build customer confidence.
High-quality photography is an investment that can improve conversion rates, reduce returns by accurately representing products, and provide versatile content for your website, advertising, catalogues, and social media.
Strong product photography is one of the most effective ways to present your products professionally and compete in today’s online marketplace. By paying attention to lighting, consistency, composition, and image quality, small businesses can create visuals that attract attention and encourage customers to buy.
If you’re ready to take your product imagery to the next level, professional photography can help your brand stand out with polished, high-quality images designed for ecommerce, advertising, and marketing.
We like to make the business of photography open and easy to discuss with our client. We have a price guide which outlines our fees and charges per project based on time spent.
Covering –
Pre productions, model casting , location recce ,Shoot day , studio and lighting costs and post production editing.
We also offer a cost per product including photography and retouching
Feel free to get in touch for a price guide or quote
Moving ahead with our services bind you to our terms and conditions unless stated in writing prior to the work completing
Terms and Conditions
Definitions
“We” and “Us” Richard Weinstein Photography and its representatives and employees. “You” means the client, its representatives, agents and assigns and successors “Image” or “images” means the photographic images produced by digital capture or film including video or any other type of physical or electronic means. Acceptance In commissioning our services you agree to our Terms and Conditions as outlined herein.
Copyright
Richard Weinstein Photography retains copyright and all moral rights in each image produced and retains ownership of all original captures and processed files supplied.
Usage License You may use the images for the media, territory and duration outlined in the Usage License detailed on our Quotations
Additional Usage may attract additional usage fees.
The license is not transferable and the images may not be passed on or on sold to any third party or parties without written permission from Richard Weinstein Photography.
Exclusivity
Unless otherwise agreed upon in writing, the images are supplied on a non-exclusive basis. Richard Weinstein Photography retains the right to use the images for self-promotion and may on sell the images to third parties after the terms of your Usage License if it deems there is no conflict of interest with your usage requirements.
Cancellations and Postponements A booking is considered firm as from the date of confirmation. If a confirmed booking is cancelled or postponed for any reasons we reserve the right to charge 50% of the Itemised list and costing provided and as quoted. If cancelled or postponed within 24 hours of the shoot date we reserve the right to charge 100% of the Itemised list and costing (quote) as agreed. Overtime If a shoot day extends beyond eight (8) consecutive hours overtime for photography and crew may be charged at our discretion at a rate of one and one half (1.5) times the hourly rate or fees.
Indemnity Richard Weinstein Photography shall not be liable for any legal action, claim and/or damages resulting from or arising out of the use of publication or distribution of the images. You agree to indemnify Richard Weinstein Photography against any claims and/or damages against us including legal fees arising from the images. Client images are archived within our wok flow but no guarantee of safeguard after 6 months of the completed work Client Approval
You are responsible for having your authorised representative present during the shooting of the assignment to approve the photography. If no representative is present the photographer’s discretion of the brief and resulting images shall be accepted. You shall be bound by all approvals and changes made by your representative.
Insurance
Our studio is covered with Public Liability – Certificate on request- and cover good in care to the value of $50000. Clients are encouraged to cover all insurance related to their product or services during the photography process
Reshoots If a reshoot is requested by the client 100% of all original costs and fees, including photography may be charged. Payments and Deposits If we have indicated on our quote that a deposit is required for pre-production expenses. The deposit is to be paid in full before the shoot commences. Full payment of our invoice is required within the payment terms outlined on the invoice.
Usage and reproduction rights are not granted unless our invoice has been paid.
We thank you for your business and look forward to working with you
Opal Fields, the worlds largest retailer of opals jewellery commissioned this exciting new campaign highlighting the beauty and diversity of Australian Opal Designed Jewellery.
The shoot was produced by Richard Weintein and took weeks of conceptual planning , casting and production, 2 days of photography and a week of post production.
The images were produced for Instore, POS , Brochures and Website marketing.
Emma Haddock’s technical skill, creativity and attention to detail in the body painting and grooming inspired us all to achieve more.A big thanks to the team behind the scenes and the great patience of our models.
creating the amazing effects takes a lot of patience , Emma Haddock brings creativity and skill to each setup
Roughly a quarter of all the world’s plant species face the threat of extinction and scientists are working hard to preserve the future of our nation’s flora.
australian geographic magazineaustralian geographic magazineExhibition at ECC Gallery in Darlinghurst and Commission for the Melbourne Hyatt Hotel produced by Art DuoAustralian Geographic commissioned featureView from campCope Street Studio Gallery and The Print RoomPlant studies on polaroid dye transferkangaroo paw
IT’S A RACE AGAINST time. One more really warm day and the little black prizes the seed chasers are hunting will have been ejected from the rare boronia. Gone for another year. As with many plants, there is only a small window of opportunity to find Boronia angustisepala seeds. Any seed gathered by the two collectors must have remained on the plant until mature enough to survive on its own, yet they must capture it before it’s scattered over the ground. One danger is that the seed will ripen too quickly for them to reach it in time. Another is that the sort of bushfire that ripped through this area five years earlier will wreck their plans.
Richard Johnstone and Graeme Errington have come to Gibraltar Range National Park, in northern New South Wales, with a shopping list of native seeds they hope to collect for storage at the NSW Seedbank, based at Mount Annan Botanic Garden in Sydney – and to send a copy sample to the Millennium Seed Bank (MSB) in England. From their four-wheel-drive packed with expedition gear – the four volumes of Flora of NSW alone weigh some 8 kg – Richard and Graeme head for a spot off the Dandahra Crags track.
They’d checked this location in spring based on research showing that they were likely to find B. angustisepala there. Sure enough, they’d found the boronia’s showy pink flowers and estimated the seeds would be ripe in mid-December. B. angustisepala’s tiny black seeds shoot out like bullets – the fruits forcibly squeeze them out – and can travel 1-2 m from the plant, far enough to be impossible to find once they have been dispersed.
“It would be lost – not to nature, but to us,” Richard says. “We line things up in the flowering period because they’re much easier to see. Then we go back and can see precisely where they are, even if the flowers are gone and they’ve become harder to spot.”
Armed with a GPS, Graeme and Richard spend an hour walking the track and scrambling up and around rocks and boulders to reach the site. They turn up many more of the boronia plants than they did in spring, including a large number of immature specimens. It shows the population is healthy and reproducing well. Invasive weeds such as Crofton and lantana, which are known elsewhere in the park, aren’t evident here.
The duo has arrived in the nick of time: Richard estimates the seeds would have popped within a few days. “Probably the next hot day,” he says. It’s relatively easy picking. Although the collectors have had to look hard to find the fruit, the walk hasn’t been arduous. It’s sunny and the small shrubs are little more than a metre high: no climbing or pruning poles required here.
However, because the plants don’t have many fruits, the pair takes as few as five and no more than 20 seed capsules off each of about 50 of the 70 or so plants present. That will probably mean about 100 seeds once the material is cleaned and sorted back at the NSW Seedbank – a reasonable, but not overly rich, collection.
At this stage, the collectors’ biggest enemy is rain. “It’s essential when you’re collecting seeds to keep them dry and cool,” Richard says. “If you get them wet, they prematurely age or they rot.” Soon the specimens are in a paper bag bearing the species’ name and the number RJ2717 – Richard Johnstone’s 2717th collection for the NSW Seedbank. At the end of the expedition, the paper bag is transported carefully to Mount Annan. Some seeds will be kept for study and others will travel 17,000 km to the other side of the globe.
Rescued from extinction
Since the late 1980s, the NSW Seedbank has collected seed from about 30 per cent of threatened plant species and nearly 40 per cent of known plant species in the State. Mount Annan is part of Sydney’s Botanic Gardens Trust (BGT), a cog in the huge global effort known as the Millennium Seed Bank Project (MSBP), based at Wakehurst Place, in southern England, to conserve the valuable genetic material held within wild plant seeds.
Seed banking involves collecting and storing seed from plants. It is both an insurance policy against extinction and a source of high-quality material for the restoration of habitats. It’s labour-intensive work but is cost effective – it is estimated an average of $5000 is needed to save a species from extinction. The NSW Seedbank received an injection of funds from the State Government in 1999 and a major boost from the MSB upon joining its program in 2003. More recently, HSBC Bank Australia became a major BGT supporter and part of its funding was directed to seed banking.
What’s learnt in the seed-banking process also aids the understanding and management of species in the wild. So far, MSB has banked seeds from 10 per cent of the world’s known wild plants, more than 24,000 species, including 12 now extinct in the wild. Its next target is to have saved seeds from 25 per cent of plant species by 2020. Roughly a quarter of all the world’s plant species face the threat of extinction, but twice that number could be at risk should the average planetary temperature rise 2-3°C, as climate change experts predict. Of Australia’s 25,000 species, 23 per cent are under threat.
“Our partnership with the Millennium Seed Bank means we can provide a lifeline for plants most at risk of extinction,” says Dr Tim Entwisle, the BGT’s executive director. “Our native flora is under threat from climate change, salinity, invasive weeds and landscape fragmentation, and seed banking is the kind of thing the Royal Botanic Gardens in Sydney has been doing for more than 190 years – right back to our first alliance with the Royal Botanic Gardens at Kew through Sir Joseph Banks.”
Not all seed is physically suited to banking, however, and there’s no point collecting and storing seed unless you can be sure it is living material and will survive long periods in storage. Many rainforest species, for example, don’t take well to the drying process, and overcoming such obstacles is one of the goals of the research. It’s also necessary to know how to break the seed’s dormancy and germinate it – something that’s not necessarily a simple case of ‘just add water’.
“For many years, we were concerned about seed banking because there was this concept of whether we had a gene bank or a gene morgue,” says Dr Cathy Offord, manager of horticultural research at the BGT. She says the knowledge and techniques built up during the past decade have “enabled us to be confident to say that we can successfully collect the majority of species that grow in NSW”. Still, some species continue to perplex. “There are still a lot of challenges,” she says. “We could spend several lifetimes even on just one or two species.”
Bag of tricks
At Mount Annan, seed technology officer Leahwyn Seed (yes, really) tips the contents of the paper bag into a brass sieve. She removes larger material, such as sticks and leaves, and looks for insects. “You’d be amazed how long insects can live in the drying room,” she says. Some seeds are already free of their casings, and the warmth of the room is causing others to pop, so it’s quickly back into the bag and off to the drying room.
After a couple of weeks, most of the seeds have worked themselves free and it’s time for further sieving and, if necessary, manual seed removal. B. angustisepala can be prised open with the fingers, but for other species Mount Annan uses techniques such as the ‘banksia barbecue’ – a blowtorch providing the heat necessary to get species such as banksias to release their seeds.
Separated from the waste material, the B. angustisepala seeds go into a jar and are returned to the drying room. The room is set at a cool 15°C and a dry 15 per cent humidity and the seed may remain in here for weeks, even months. The lower the moisture content (preferably just 7 per cent), the better they are able to survive long-term storage in the freezer.
Once drying is completed, some of the seeds are separated to test viability. Seed research officer Dr Amelia Martyn says boronias have some of the most difficult seeds to germinate. In research just published, Amelia and the Mount Annan team looked at 112 species in the Rutaceae family, of which boronias are part, and found that the presence of an embryo and endosperm – referred to as ‘seed fill’ – could vary from 0 to 100 per cent. “Not all seed that looks good to the eye is filled,” she says. “Even if you think you have 100 seeds in your hand, the seed fill might be as low as 20 or 30 seeds.”
And even that handful of seeds still might not be viable. “Sometimes things happen while the seed is still being formed and they don’t finish maturing,” she says. In her study, 80 per cent of seed collections had more than 25 per cent unhealthy seeds. Some had no viable seed at all. To check seed fill and viability, some of the B. angustisepala seeds are sliced in half and examined under the microscope. One seed had a small hole – a sign of insect predation. Another was crumbled inside, but a third was healthy: white and full. Seed viability can also be checked with a stain test, during which live tissue shows as pink.
Next, the seeds have a germination test. Amelia’s research shows that germination of boronia seeds can be significantly improved by using a combination of smoke water (water with smoke from burned vegetation bubbled through it) and the plant hormone gibberellic acid. (Applying these to seven different boronia species improved germination from 0-25 per cent to 27-100 per cent.) Ten B. angustisepala seeds are soaked for 24 hours in laboratory-made smoke water from Kings Park and Botanic Garden, in WA. The seeds are then placed on a plate of laboratory growth medium, known as agar, which incorporates gibberellic acid, and is placed into an incubator where the temperature is set to the equivalent of spring conditions in the Gibraltar Range.
Amelia says the results from other boronia suggest it may take from fifty to a couple of hundred days for germination. If the test is successful, the seedlings will be potted and nurtured in the Mount Annan nursery, possibly one day making it into the gardens’ display. Species that germinate well are also tested for seed longevity in an accelerated ageing test. Here, the seed is stored in an incubator at 45°C and 60 per cent humidity and monitored to see how long it survives under these harsh conditions. That allows a prediction of its likely survival in the MSB freezers – and of the time when a new collection may be needed.
Freeze frame
Before final packing, the seeds of each species are counted – by hand if it’s a small collection or by weight for larger lots. Some are separated for testing and the rest go into two vacuum-sealed foil packs: one for the NSW Seedbank to keep; the other, as a fail-safe, to be air-freighted to the MSB, with a pressed botanical specimen made by the collectors at the time they gathered the seed.
Mount Annan’s foil pack of B. angustisepala goes into a walk-in freezer set at -18°C, a temperature that will slow the seeds’ metabolic activity and prolong their lives. The seed from some species may survive just 10 years under these conditions; others – such as wattle seed – may have a life of 1000 or more years. In the meantime, the NSW Seedbank will move into a new phase.
“In this next phase we’d like to extend the genetic diversity in our collection,” says Peter Cuneo, BGT’s seedbank manager. So, rather than just collecting B. angustisepala from the Gibraltar Range, specimens might be collected from other places where it occurs. This diversity will be vital because seed banking is used for ecological restoration, Peter says. “Seed knowledge, I believe, is going to be quite critical over the next couple of decades.”
Source: Australian Geographic Issue 98 (April – June 2010)
LINKS From July to September 2010, the Australian Geographic Society is raising funds for the Save a Species Campaign run by the Botanic Gardens Trust.