Google Cloud; Tate Britain; Tate Modern; National Portrait Gallery; Canary Wharf; Estonian Embassy; Sotheby's; Christies; Inspiratia; Ralph Lauren; Royal Watercolour Society; Royal Geographical Society; Peldon Rose; Purcell Architects; ExCel; GQ Magazine; Wired Magazine; CIWM; SKY TV; Nationwide; Small Axe; Althorp House; Thames Tideway; Compare The Market; Prada; Adidas; Althorp House (and so many more).

I have been photographing corporate events, headshots and interiors professionally since 2012. I shoot events mostly in a documentary style, which means that shots are unposed and natural. While my best corporate event photography is candid/unposed/documentary in style, I'm also perfectly adept at formal/casual posed group shots. In fact one of my best clients hires me purely for my step and repeat posed shots against a branded backdrop.

My aim is to be unobtrusive while getting the best shots I can. I am technically minded so you know that your images are in safe hands, and hopefully my creative streak speaks for itself in the images.


I rhyme "Caius" with ''bias'', but I have a feeling it was originally meant to be pronounced "keys''. Most people call me "Josh Kayyy.....?"

SAME DAY IMAGE DELIVERY OR EVEN DURING THE EVENT (of selected images) is often possible with a bit of advance planning - just outline your needs in good time so I can prepare and quote you properly first time around.


If you need more than just me, please do get in touch - I have a list of talented trusted photographers that I've worked with before that may be able to help, as well as digital operators (for particularly demanding on-site editing).  I am of course also happy to work with any other photographers that you book.


I quote bespoke to each event (as each event is unique), so do please get in touch for a straightforward no-pressure quote.


The video team (Oliver, Mike and myself as the organiser) offer a video package that is designed to engage with your audience in the best possible way - a 1-2 minute edit suitable for Youtube and your website, and a separate edit under 1 minute in length for social media.  Both edits include sound bites of short interviews of key guests, which are overlaid with the best candid moments caught by our camera operator.  We have found that short and sweet edits work best to gain attention online, and our specially designed approach allows us to be amazing value for the quality provided.

We've streamlined our video package to produce the best quality for the best value, and editing is by far the more time intensive task when it comes to video, regardless of the length of the event itself.  So we've priced our services fairly and competitively, using high end professionals for the job, in a way that keeps the price down. Get in touch for more info!


When it comes to event photography, I thrive off of the buzz of getting great shots no matter what the conditions, and pushing myself to get that perfect balance of documenting the joy of the event and doing it in a creative way.  I hope that my images reflect that.

I've been photographing professionally full time since 2012.  Before then I was an artist/sculptor in ceramics - I spent about 9 years on the potter's wheel before diving head first into photography.  My training as a photographer is technical, practical and commercial, having learned on the job as a photographer's assistant for about 30 different photographers.  I assisted on all sorts of shoots, from food photography to corporate headshots, Google business virtual walk-throughs to avant-garde fashion, PR image library stock creation to black tie events with high net worth individuals and royalty... it was quite a ride!  As well as the event photography, I produce some very conceptual art photography under a pseudonym, which is my second passion.  I also photograph occassional advertising campaigns, for which I have an agent.   I moved to London because I am obsessed with art, and I visit at least a couple of galleries a week.


To most events I will bring a Sony A1, an Sony A9ii and a variety of lenses, as well as a small Fuji camera which produces great results in a really subtle package - perfect for getting close to the action without putting people off their conversations!  I use long lenses to pick out candid moments from across the room, and wider lenses to get closer to the action for those fun party shots.  I also try to get a good selection of wider shots from the back of the room to show the event when it is at its fullest.  I'll use flash only where strictly required - I prefer the way I can blend into the surroundings when not using flash.  Then, for group shots and award giving on stage I'll use it both for technical reasons (you REALLY don't want me to miss that smiley award-giving pose) and to draw attention to myself so people look in the right direction!  I tend to match the colour of the flash to the lights in the room using gels (transparent coloured plastic that fits over the flash head), to prevent colour casts in the photos.  For installation shots and big wide shots of the rooms, I'll use my tripod on a longer exposure to ''soak up'' all the interesting natural light in the venue.  It's also a good way of producing interesting photos of blurred people, which is particularly useful if guests require discretion and would rather not be recognised.  For on-site editing I use a few different pieces of software on my laptop - one called PhotoMechanic for quickly importing and selecting the images safely, one called Fast Raw Viewer which lets me fly through the image previews looking for your initial few images that you might need asap, and Capture One to tweak and export to either email, Airdrop or transfer to a hard drive/USB stick.  I happen to be highly adept at Photoshop because I also have an advertising/commercial background, but my other software is more suitable for events.  As for image size and things like colour space etc, I've found that almost all clients prefer not to think about these things, and so I offer the images as 2500-3000 pixel images on the long edge in sRGB.  This seems to be suitable for 99% of clients, but I'm all set up for more specialist requests, as I do have a lot of experience with both printed and digital media requirements.  



Tate Britain; Tate Modern; Canary Wharf; Estonian Embassy; Inspiratia; Ralph Lauren; Royal Watercolour Society; Peldon Rose; GQ Magazine; CIWM; SKY TV; Nationwide; Small Axe; Althorp Park; Thames Tideway; Wired Magazine.