Photography in Lincoln.

Five frames of a person, a product or a place, edited and graded — 1 point at Tier 1, the cheapest photo line on the menu. This is the set a company actually runs out of: the headshot for the site, the founder for a press mention, the one image an announcement needs and nobody has.

Shot with proper lighting rather than found light, because a brand photograph that reads as a phone snap costs more credibility than it saves in budget. Where a film is already being made, these come off the same session — the stills above were shot on set — which is why a brand shoot and a brand film booked together produce one consistent-looking library rather than two that do not match.

Twelve frames rather than five, at 2 points — the size a real brief tends to be once somebody counts. A restaurant does not need one hero plate; it needs the plates, the room, the bar and the people behind it, because those images have to carry a site, a menu, a delivery listing and a season of posts.

Food is the hardest thing on this page to shoot and the easiest to get wrong. It has a window measured in minutes before it stops reading as appetising, the kitchen cannot stop service while a light gets flagged, and colour that drifts even slightly makes the food look like a different dish than the one that arrives. Shot fast, on the pass, in the room’s own light where that light is any good.

An event does not repeat. There is no second run at the winning point, the speech, or the moment the room reacts, which is why this is covered as selects from a session — 1 point — rather than as a fixed count of frames agreed in advance. What the day gives is what the day gives.

Live sport is the clearest version of it: available light that nobody controls, a long lens, and a subject moving faster than the focus system was designed for. The three above are a sideline, a court and a jump. Corporate events, openings and conferences run on exactly the same terms — one pass, no re-set.

The couple, the rings, the light under the trees. Wedding photography is booked as part of coverage rather than as a menu line, because the stills and the film are one person’s day and splitting them across two vendors is how a couple ends up with two versions of it that do not agree.

Shot documentary — nobody is asked to do it again for camera — with the posed frames kept to the short window they belong in. The frames above are from real days, not a styled shoot.

A building is photographed to be described rather than flattered — flat, even, and honest about the size of the room. It is a different job from everything above, it is the studio’s deepest published body of work, and it has a page of its own rather than a paragraph here.

On the menu it is 5 points at Tier 2, capped at three a month. The two frames above are an amenity lounge and a model unit — the register leasing teams and property managers need, and the one an agent’s listing runs on.