Photographer Tim Wallace has a unique and adaptable style that provides quality creative digital assets that meet our clients brief and inspire their customers beyond. We believe very firmly in building amazing relationships with all our clients and the agencies that we engage with to offer reliable constant results.
We work mainly through reputation and recommendation, and are very immensely proud of what we have achieved with our clients over the years to create imagery that not only delivers visually through advertising but also that remains strong and becomes part of a clients very branding identity.
In the automotive industry we have worked with a wide range of agencies and commercial clients such as McLaren, Aston Martin, Peugeot, Mercedes, and Jaguar Land Rover whilst in some of the other industry transport sectors that we work within we have formed strong client’s client relationships with companies such as Terberg, Dennis Eagle, NFT, and Pall-Ex through our photography of logistics, truck and manufacturing, supply chain and freight operations, and engineering.
"Being out there shooting is where things happen..."
Creativity is the fundamental key to any successful commercial photography when mixed with a strongly defined shooting style. Commercially it is very important for client to choose a photographer based not only on their obvious technical ability but most importantly on their 'style' of work. True creativity still exists in the capture and control of light with your subject mixed with a strong creative vision of the world.
Tim is very well known within the automotive car industry for his open approach and his passion to push the creative boundaries to produce the best imagery possible for his clients. He is regarded by many as one of today's leading UK commercial automotive car photographers with a unique strong style of work and passionate approach that inspires not only his clients but also their customers from the outputs achieved, something that is reflected through the brands that he works with and awards such as, British Advertising Photographer, and Professional Photographer of the Year, as well as Car Photographer of the Year at the Motor Industry Awards. In 2021 he was announced as Commercial Photographer of the Year at the British Photography Awards in London for his work with our client McLaren.
Over recent years Tims style of work has led to a broader range of transport-based work being commissioned by clients that have included large vehicle photography in studio, aviation editorial work as well as manufacturing and supply chain / logistics-based work. Much of this work has been undertaken after being directly engaged by the client however we also work with some agencies that specialise in building web and print campaign content for this type of client with their specific needs.
A few years ago, we were approached by an International company who design and manufacture woodchippers and were asked if we thought it was possible to make woodchippers look as dynamic as a Ferrari. Tim worked with the client closely and took their products into studio and started shooting them through his own vision. The work produced was hugely well received by our client who now commissions AmbientLife exclusively for all their marketing and advertising photography globally.
"Tim and I have worked together on two photoshoots and each time I am blown away by the images he produces. Laidback, approachable and hugely knowledgeable, Tim understands the brief and exceeds our expectations every time. He is supportive, recommending locations, essential equipment and photography tricks which makes your images even better. His creativity knows no bounds and he knows exactly what images work for the messages you want to convey." -
Abby Langley, Head of Group Marketing, Pall-Ex Group
"Tim is a visionary artist with his own very personal style that distinguishes his photography from any other vehicle photography I’ve seen. He is in my opinion the best motoring photographer in the world today. He realizes an art director’s vision exactly while bringing a massive amount of his own creative weight and experience into play to deliver the perfect commercial product. He is also a total professional to work with from an agency capacity and makes the projects he works on totally painless on the production side. To top it all off he is a bloody nice down to earth bloke to be around." -
Rob McDonnell, Group Creative Director, EMEA at Firewood.
"Tim's skill and ability to produce simply stunning photography is on another level to what i have experienced before. A true art." -
Douglas Ghinn, Marketing Director, Redwood Global
"Tim is highly professional, hardworking, very creative and great to work with. We could not be happier with the final results and our new images have taken our latest marketing materials to the next level. Whilst we benefited from his experience and skill behind the camera and indeed in post production we also found him receptive to any suggestion and creative input we had which was very refreshing. I thoroughly recommend Tim as a photographer and generally as a cool guy" -
Chris Bruty, Marketing, Forst
"Brevity’s client, a logistics company was looking to build a collection of ‘moving shots’ showcasing their branded HGV vehicles and vans. Working with Tim was a pleasure. Via phone and email, we spent time planning shots prior to the shoot so there was clear direction on the day for all participants and we could stick to time schedules. Communication throughout the experience was high and Tim delivered the edited versions on time. Tim is not only a talented photographer, but he is thorough, fair and realistic in his approach" -
Kaia Vincent, Director, Brevity Marketing
"Tim is a top-flight professional photographer. He is passionate about his work and brings real creativity to his work. He is easy to work with and isn’t precious about working in less than perfect non-studio environments-in fact he relishes it. The quality of his output is always worthy of a premium branded product he works with" -
Chris Shelley, Chairman of Dymag Group
AmbientLife has a simple but effective process that allows us to build a full and detailed picture of what you are looking for. The initial step is to simply have a discussion with you and find out where and how the photography will be used, what style of photography you're looking for and what you want to emphasise.
Other items you may wish to discuss are branding inclusion in the photography and orientation or ratio of imagery so that assets can be best utlised by your brochure and web designers. We will also be looking closely at the finished output that you have in mind whether that be web use or a corporate media presentation, it’s often at this point that we find that these discussions can be very useful in outlining some possibilities through our experience that you may not have considered previously. Once we've gained an overview of your needs we can move forward and plan the work so that it takes place as efficiently as possible. We'll review the content and advise you of any suggestions we have regarding the actual shoot, how long the shoot is anticipated to take, an agreed brief and estimate costings.
We are fortunate to work with some very high profile and creative clients, we have illustrated here some samples of recent work that we have undertaken and completed with just some of the companies we work with both within the UK and Internationally. Virtually all of our work and commissions come through recommendation and referral, something that we are very proud of and we feel reflects not only the quality of our work but also our creative approach to our projects.
We were approached by a established and dynamic production company based in Paris, Cream, when Peugeot were looking for a new exciting campaign to be delivered for the launch of their new concept car, 'Fractal'. Their concept car was launched at the Frankfurt Motor Show and it represented a major capital investment in showcasing their new concepts and future technologies to a worldwide market so getting the right photography and media was very important.
Peugeot were seeking a very dynamic set of photography for the project and engaged photographer Tim Wallace to shoot the stills for the worldwide campaign.
Tim worked very closely with Cream Production in Paris to look at what the Peugeot concept for the car was and a team was put together to shoot the photography element of the campaign over a 4-day period at the Peugeot Design Headquarters in Paris.
Tim "Peugeot is a great client from my perspective as the design team is very strong indeed and they have great vision for how they want to sculpt the photography around their product and branding. At Peugeot it is very much all about 'emotion' so when they first approached me through their production company it was a very quick fit from a style point of view. Shooting any campaign is a large and involved process and shooting their new concept was something that I was personally very happy to be involved with. We completed the week long shoot in the studio that is within the Design Centre for Peugeot in Paris working alongside the designers.
As with any type of worldwide campaign its crucial to ensure that everything is planned and worked out well in advance so that during the days of actual shooting the team can concentrate fully on creating and producing the photography that is required. I was very lucky to have Cream Production based in Paris taking control for this shoot, the team there are both dedicated and vastly creative and having such a well organised production house involved can really help to make sure that as a whole the project gets the very best result possible for the client."
McLaren Special Operations (MSO) is a bespoke division, dedicated to helping take McLaren ownership to a whole new level. MSO create cars around an owner’s precise tastes, and are able to provide everything from bespoke customisation options through to building ultra-exclusive limited-edition or one-off models.
Their mission is to make what is already special into something truly unique, to create your perfect McLaren.
Commercial photographer Tim Wallace has been working closely with our client McLaren for a number of years to create the stunning photography that is used in their brochures. The very first project that we worked on with McLaren was to shoot the accessories brochure for the MSO division. The brief was to complete a comprehensive suite of 54 high-quality beautiful photographic assets to be utilised to create the McLaren ‘Genuine Accessories Catalogue’.
The entire shoot would be based around the McLaren 570S and would need to fully capture the entire range of options that would be available, from the handcrafted carbon through to body modifications, as well as all the interior upgrade options. Once completed the brochure would be available through the global McLaren website and within the ownership portal. McLaren had a very precise requirement for how all the completed images should look and feel, and with new corporate image guidelines in place the photography would need to strictly follow these to allow the suite of images to all tie together when placed within the final brochure.
Later Tim went onto to shoot the brochure work for the MSO HDK (High Downforce Kit) and the Super Series brochure using two dedicated 720s models.
Commercial car photographer Tim Wallace worked again with our client McLaren on what was our third commission for the UK supercar manufacturer to create all the photography for their new Super Series Accessory Brochure. The shot list was comprehensive and consisted of both full body shots as well and complex overheads and all the upgrades and optional parts and accessories that were to be offered to McLaren owners. A total of 43 separate and completed images were required, all needing to be consistent with each other in style and feel and all high in quality as the client would be using them in both web form and in print media.
The entire shoot was based around the McLaren 720s and we would be working with 2 specific cars with the 720s Coupe and the 720s Spider, both in different colours. These vehicles would all be fitted with the options and various accessories to allow us to capture everything from the handcrafted carbon through to the smallest of details and modifications as well as covering all the interior work across both cars as well as full body shots and overheads.
Over the last few years commercial photographer Tim Wallace has spent time working with Bristow SAR Operation (Search and Rescue) based at Prestwick in Scotland and HM Coastguard. The SAR previously operated two state of the art S-92 helicopters which are the most advanced aircraft in Sikorsky's civil product line, with the necessary speed, capacity and operational range to meet the needs of the UK search and rescue environment, later in July 2017 the SAR moved over to the new Leonardo AW189 and they have enjoyed great success with this new helicopter. The AW189 aircraft is state of the art and has the agility and flexibility to respond to the wide spectrum of search and rescue taskings within the SAR operating area.
Bristow Helicopters was awarded the contract to operate the civilian search and rescue (SAR) helicopter service for the UK on behalf of Her Majesty's Coastguard in 2015. The contract represents a continuation of Bristow’s British heritage of providing first-class SAR services in the UK. It is a great success for Bristow Helicopters and a huge endorsement of the company’s reputation for excellence in SAR.
This is a service that people rely on in a time of need. Bristow fully understands the responsibilities that go with providing search and rescue in the UK and the company is committed to delivering a service that meets and exceeds the high expectations demanded. Bristow work closely with national and local agencies such as the coastguard, police, fire service, mountain rescue teams and voluntary community groups, to ensure the delivery of a world-class SAR operation in the UK.
The crews are experienced and highly skilled, and are trained, qualified and certified to the highest standards to coordinate and execute SAR operations.
The company has enormous respect for the service that its military colleagues have provided over the last 70 years of UK Search and Rescue. Their legacy, heritage and experience are being honoured and carried forward by Bristow in the new contract.
Bristow Helicopters has welcomed many ex-military personnel to its civilian SAR workforce after delivering SAR with the Royal Air Force or Royal Navy.
Their experience and local knowledge is a vital part of maintaining an exceptional service day and night every day of the year to ensure the safety of others.
Tim "Shooting the SAR in Scotland is always a project that takes time to carefully arrange properly and I am always very keen to ensure that we show the work of the SAR to the best of our ability. The work of the men and women of the SAR is vital and I have the greatest respect for both their professionalism and skill, as well as the fact that they put their lives at risk on a regular basis to fly in all weathers for the good of those that need them most when they are in distress."
We have worked with Aston for a number of years now and some of Tim's Aston Martin photography is very well known within the automotive industry for being both cutting edge and for its more unusual creative artist approach and has even led to him receiving both 'Commercial Photographer of the Year' and 'UK Motor Industry Photographer of the Year' awards recently. Tim has worked alongside Aston for a number of years on both the creation of sales and marketing photography as well as the background engineering and process engineering work. We were commissioned to shoot the infamous £1 million Aston Martin, the One-77 at the main Aston Martin Design Centre in Gaydon and also in 2017 our 4 year long project to shoot the Aston Martin 'Portfolio Of Dreams' Book was completed.
Tim - "Our work with Aston is in my opinion some of the most satisfying and challenging that we have carried out. The purchase of an Aston Martin can cost anywhere between £80k and £8m and as such it's my responsibility to create an image or a series of images that capture the sheer essence of a car or a model range to both inspire and create a desire within the viewer to drive his or her own wish to consider the Aston Martin as a serious and desirable purchase.
You don't in truth purchase an Aston Martin based on just performance and it is unlikely that the practical aspects of economy and efficiency will factor highly in the decision, as such it is very much an emotional and lifestyle based purchase, this means that I need to shoot according to that market and to that end and create that desire, this is exactly what we try to achieve with our work for Aston in this product area and over the years we have seen sales of the Classic Aston models almost double and also seen a broadening of the modern range customer base, a very satisfying response to the campaigns and work that has been put into these projects.
We were extremely proud and honoured when the Aston Martin Book 'Portfolio Of Dreams' was officially launched with Sir Stirling Moss writing the foreword.
The book journeys through the life and models of Aston Martin from the very first prototype car to the very latest models of today. The actual project was a mammoth piece of work that saw us shooting models over 4 years for Aston in the UK to build up a complete history of every car that the company ever designed and produced.
It is a wonderful celebration of Aston Martin through their first 100 years and is a major publication of nearly 700 pages of stunning photography from Tim capturing each of their significant models built and created over that time. It includes some very famous cars through the years, race winners, and starts its journey from the very first Bamford Martin car all the way through to the infamous DB5 and onwards to the latest DBS and One77 models of recent years. Printing of the book commenced last month and the first 100 limited editions were recently signed by Tim and quickly sold out. The book is now on general release through Aston.
Tim - "Being asked to create all the photography for the Aston book was indeed a great honour and it was a project that I worked on for over 4 years.
The book primarily a 'coffee table' style book of great photography looking at each of the models through the history of Aston Martin design and endeavour to create cars that instil both passion and soul.
It was a truly massive project and I still remember that initial meeting that I had at Aston when the idea came to light, the task to create a pictorial book of beautiful photography that followed through every model that Aston Martin ever made from the very first prototype Bamford A3, a car that is closely guarded and priceless today, through then to all the variants and models to the cars of today that Aston have become so well known for crafting and producing.
Some of the cars that I have captured for this book such as the Zagato's VEV1 and VEV2 that are very rare and today are in the same condition as the day that they drove out of the factory gates, they are truly amazing cars with such a wonderful rich history."
"For me personally it's a joy to shoot these cars and we have been working with Aston in the UK and Europe for just over 10 years now so I am very familiar with both the company and the vehicles themselves which is a major benefit to the project for me personally.
I get asked a lot by people if I drive that cars, the answer is yes I do as I often position them myself into where I need them for the shoot, some cars are indeed easier to drive than others especially some of the pre-war models that have their accelerator switches on the actual starring wheel, not to mention those where the pedal layout is all mixed around... it takes a bit of concentration whilst driving those around as it really is the very last car in the world that you would want to damage, safe to say that my insurance for such things is very significant indeed!
It was in the early part of 2017 that the provisional first layouts where shown to me and indeed having the material to 'fill' almost 700 pages is no easy task aside the layouts themselves but the project progressed and this August the first 2000 books were delivered to Aston where I visited to sign the Limited-Edition copies that sold out virtually straight away after being announced. I think that it’s for to say that I was smiling that day and I guess for me what made it that bit extra special was to have the honour for Sir Stirling Moss write the foreword for my book, a great honour indeed."
Many of you will be aware that Aston Martin have always held a special place in my heart, and I was back behind the wheel of the fantastic DBR1 recently as part of the company’s centenary celebrations. This drive around the Nurburgring once again reminded me of just what a beautiful car it is.
There’s something about making your car not only perform well, but look fantastic too.
I’ve long held the belief that ugly cars don’t win races, no logic to it I know, but maybe it has something to do with attention to detail. The DBR1 was a great example of this, not only one of the nicest cars I’ve ever driven and winner of the World Championship in 1959, but one of the best looking too.
The DBR1 embodies much of what I’ve always loved about British road-racing cars, the incredible engineering, the hand-crafted, traditional workmanship and the exceptional beauty. Indeed, that lovely old racer is the very essence of Aston Martin’s own mantra, Power, Beauty & Soul. Many books have been written over the years about the history, engineering and racing heritage of Aston Martin, but what I love about this book in particular, is its focus on style, and Aston Martin have always had great style. I remember when Lance Macklin and I drove a factory DB2 in the Daily Express Rally, it certainly attracted a lot of pretty girls all around the UK
I’ve always been a big fan of design & technology and when coupled with style, you know you are going to have a winning formula, and it’s this that has led to Aston Martin becoming such a big part of British heritage. We all know that Aston Martin is one of the world’s most recognisable brands, and the desirability of these stunning cars is well documented, with classic examples in particular achieving an incredible status.
This must be due in no small part to the great attention to detail and simple, beautiful lines afforded to every model. An Aston Martin will always look fantastic, whether parked in the high street or tearing down the back roads.
This fabulous book acknowledges this as never before, and every image has been given the same attention to detail that Aston Martin gave the original cars.
It’s obvious as you flick through the pages, that an awful lot of time and effort has gone into its creation, and the result is a book which I’m sure will take its place among the “must haves” for anyone interested in car photography and not just those with an interest in Aston Martin
Well done Tim Wallace and well done Aston Workshop for having the vision and the tenacity to make this project a reality.
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Burgess approached us with a desire to have their new yacht 'Genevieve' shot in Tim's style using both technical still, medium format high end quality and most importantly 'passion'. Initial interior work had already been completed and Tim along with a crew of support staff completed the 'exterior' work shooting off the coast of Palma using both support craft and helicopter support.
Tim - "It was a great project and one that in truth had been on the table being discussed through their New York office for nearly a year. I am indeed very used to shooting prestige modes of transport and I guess I'm best known for my work in the car industry. This was really exciting though and to some degree I felt like we had a blank canvas to fill which was certainly a challenge but one that both myself and the team I've picked were very keen to get the most from for our client. I was plan out lighting and equipment requirements for setups where we will have 8 lights on the boat and others in support boats to each side while I was shoot hanging, quite literally, out of a Helicopter, but that is great fun I have to say. In truth the logistics of a shoot like this can be really involved, the amount of equipment required, insurance, the sheer fact that your dealing with a ship that costs out at £1m per metre not to mention the hire and set up for 2 helicopters and multiple RIB fast boats for lighting etc. Everybody worked really hard in the team from sunrise to sun set and beyond at times but the end results were very well received by our client and that is all that really matters when all is said and done."
"On life's vast ocean diversely we sail, reason the card but passion the gail" - Alexander Pope
We have been working with Dennis Eagle for many years and exclusively produce all of their commercial photography, from brochures to magazine placements and trade advertising. Our initial work with the company began when we were asked to shoot two new prototype vehicles that they were preparing to launch, from there the relationship has developed and grown we have worked with them on location shoots as well as recently shooting all the studio work for the companies’ new vehicle brochures both in the UK, Europe, Asia, and the US.
Over the years since then we have worked closely with Dennis Eagle and Terberg Rosroca to provide all their commercial and marketing image assets for use throughout the World. Some recent projects have included the brochure photography of all their new vehicles including the prototype E-Collect all electric vehicle as well as documenting and photographing all the UK service centres and the people that make up the company and are the hub of what it is today.
We have successfully worked with our client BBC studios and UKTV on many projects, the first was to create the digital assets as they were filming the series entitled 'Warbird' that was based around several key legendary vintage aircraft that each featured in separate episodes. The initial project commenced with the lead aircraft for the entire series, the Spitfire MJ772 at Biggin Hill in London and went on to include all the remaining aircraft in different locations across the UK.
All of the project shoots were location based and these were all completed over the course of 8 months across the UK. It was a pleasure for us to work with the BBC team to achieve some really dramatic imagery from the many locations, all of the work produced was used within the actual series episodes and well as for its international marketing and TV EPG placements and indeed was so well received that it was given an exhibition in London to launch the series.
Jaguar Land Rover joined our client list back in 2009 and we have worked with them on both Land Rover related projects as well as shooting work on their 'Heritage' side of the business. We produced work at the dedicated JLR design centre at Gaydon looking at the company’s different divisions and they people that are based there. At Gaydon we have also worked on the test track proving ground that both Jaguar and Land Rover share shooting work for both Jaguar and also Land Rover. We are very familiar with the protocols and processes involved in using these facilities both effectively and within the required safety parameters and have built a great rapport and mutual professional relationship with the facilities staff and the core business test drivers that we often work closely with.
The Land Rover 'Experience' division of JLR has been another area that we have produced work for, based at their plant locations in Halewood and Solihull to promote these area's and their business importance raising public awareness both inside and outside the business. Over the years we have also worked on such projects as 'parts' based photography to drive the European market back to dedicated and branded parts and away from the lesser unbranded options.
Jaguars 'Heritage' division based in the UK supports and maintains a collection of very significant older classic jaguar models and Tim has worked with 'Heritage' one many occasions shooting work that has been seen across the main company piece and also utilised in major events such as the annual NEC Classic Motorshow where Jaguar have used the work for creating their major stand visuals.
Over the years we have worked with many varied clients and the type of work that Tim has produced for each has always sat very firmly within the respective industry however our range of work and broad creative approach to projects has meant that we are able to both operate and produce client photography that can cover a very wide range client requirement. A good example of this would be the 'parts' related photography that Tim has created for our client Mercedes. We were asked to shoot a series of 'parts' for Mercedes UK to be used in a Europe wide advertising campaign to promote 'genuine' parts being purchased over the lesser priced 'brands'.
The work was so well received following the campaign that our client went on to produce a calendar, this was distributed to all Mercedes dealerships and centres within Europe and we continued to shoot a dedicated piece of work each year on parts to allow a further series of calendars for the next three years.
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