Few departments within Westley Richards work more closely with mine than photography, and it remains one of the true strengths of the business. First championed by Simon Clode, a passionate Leica enthusiast who recognised the importance of image-making to the Westley Richards story, the department has continued to evolve at pace since Brett came in-house in 2021.
Today, its capabilities extend from the still life and in-factory reportage for which Brett is so admired, to full campaign production, moving image and location storytelling. Over that time, a genuine friendship has grown through shared projects and journeys, from the mountains of Scotland to the plains of Tanzania.
In truth, an in-house department of this calibre is rare not only within the gun trade but across the wider luxury sector, and reflects our belief that imagery, like gunmaking and leathermaking, is a craft deserving of the same care, ambition and continual progress.
Tell us about your background and where you grew up?
Growing up on the outskirts of south Birmingham in semi-rural Hollywood, much of my childhood was spent outdoors, cycling, exploring, sketching and photographing in the local countryside.
I was born in Solihull, Warwickshire, in the very same green lane where the first Land Rover rolled off the production line in 1948.
My rural forefathers had moved to Birmingham during the Industrial Revolution to work in the factories of the “City of a Thousand Trades”. There is also a distant gun-making connection: my sixth-great-grandfather, John Bumford of Alcester, was a noted 18th-century gunmaker trading at the “Sign of the Golden Blunderbuss” near the Tower of London.
Did you always want to be a photographer?
My first exposure to the magic of photography came around my seventh birthday, with a darkroom printing set complete with Kodak paper and negatives of aeroplanes and racing cars. Watching those images slowly develop under the warm amber glow of a darkroom bulb in the family bathroom left a lasting impression.
Soon after came my first camera, a simple plastic “Debutante” model. The original negatives and a black-and-white print of my mother from that very first roll of film survive. Remarkably, that same camera and amber bulb still work today.
Who or what inspired you to become a photographer?
Norman Parkinson was a great inspiration, taking fashion photography out of the studio and into dynamic outdoor locations using natural light. His inventive “action realism” style blurred the lines between fashion and reportage.
While browsing old Photography Year Books borrowed from the library a pattern began to emerge, many favourite images had been taken with a Leica camera. That discovery sparked a fascination with Leica that continues to this day.
Where did you study and what did your education entail?
After passing the 11-plus, King Edward’s VI Camp Hill grammar school in Birmingham became the next chapter. There I excelled at art and joined the school Photographic Society. Selling the Raleigh Chopper bicycle won in an art competition funded my first serious camera, a Zenit-E SLR for £32.50.
On YHA school trips to the Lake District, I could now capture our mountain adventures and stunning winter landscapes in greater detail on 35mm colour slide film.
After completing A-levels in Art, Maths and Physics, a university path into architecture was expected. However, guidance from my art master suggested industry would be a more suitable future.
How did you break into professional photography?
Aged 18, I applied for positions at ATV Studios as a graphic designer and The Birmingham Post as a black-and-white photographic printer. Sharing a portfolio of prints at interview led The Birmingham Post to recognise potential in the photography itself, offering employment as a camera operator (photographer).
The apprenticeship provided a thorough grounding across all departments of a busy city-centre general practice studio. Soon after, I invested in a Leica M2 camera costing the equivalent of 10 weeks’ wages.
An early milestone came with my first solo assignment: photographing the newly elected British Prime Minister, Margaret Thatcher, at the Birmingham Press Club.
What path did your career take prior to joining Westley Richards?
By the age of 21, a self-employed career was underway, beginning with a wedding and portrait studio and leading to recognition as Kodak Portrait Photographer of the Year.
Commercial and industrial work followed, equipped with a Hasselblad camera, a Land Rover, and a hard hat, working in many of the West Midlands factory environments where my forefathers had once laboured.
Reportage and documentary work brought a welcome return to the Leica M system, alongside a deepening partnership with Leica Camera. Freelance assignments for the brand saw me travelling worldwide to capture the signature look of new cameras and lenses in their natural environments, essentially shooting Leica for Leica.
As 'Leica Photographer', my role expanded into education through the Leica Akademie in Mayfair, where workshops focusing on street photography coached photographers through their transition from film to digital. The success of this initiative led to Akademie workshops being established internationally in Leica stores worldwide.
Many professional relationships developed through Leica. The opportunity to meet Simon Clode, then Chairman and Managing Director of Westley Richards, came through a one-to-one training session on his newly purchased Leica M camera.
A keen and enthusiastic photographer, Simon was in the process of establishing an in-house studio at the factory to professionally document each gun produced.
That connection led to ongoing freelance collaborations both in the factory and in the field. Images from these projects were published in the Explora Journal and ultimately served as my portfolio that led to joining Westley Richards in 2021 to lead the in-house photographic studio.
What are your main responsibilities as Head of Photography at Westley Richards?
The role involves overseeing and delivering all photography for the company, across studio, factory, and on-location work.
Working closely with the creative team, regular collaboration takes place with directors, designers, gunmakers, and leatherworkers to capture the people, products, and processes that define the business.
Creative input is an important aspect, drawing on experience gained over the years across multiple genres, to produce imagery that reflects the quality and heritage of the Westley Richards brand.
What do you most enjoy about your role?
One of the most rewarding aspects is the variety of work. From finely engraved shotguns to the skilled hands of a gunmaker, from field sports to African safaris, each subject offers a different creative challenge.
Seeing my images published across brochures, magazines, advertisements, exhibitions, social media and digital platforms brings a strong sense of fulfilment.
The privilege lies in documenting the full lifecycle of a bespoke Westley Richards firearm, a meticulous process that can take years and thousands of hours. From raw wood blank to out-of-stocking build, from engraved component parts right through to the beautifully finished elements of the completed gun. These images are intended to become part of the company’s historic archive for future generations.
How do you approach photographing specialists and craftspeople to capture their work authentically?
One of the unique aspects of being a photographer is the opportunity to build relationships with people from so many different occupations and crafts.
Authenticity comes from understanding, learning how and why processes are carried out, and appreciating the expertise behind them. Creating an environment where craftspeople feel comfortable and valued allows me to capture their skill and character naturally, in quiet detail.
Tell us about your involvement and experience in the Safari Collection 2026 that you recently created all the imagery for?
The Tanzania shoot remains an unforgettable experience.
As the aircraft descended, we circled Kilimanjaro, its 19,341 ft peak rising above the clouds and capped with snow. The journey to camp took us through all seasons - sun, rain, storm and flash flood - followed by an hour off-road through a wall of dust. Travelling deeper into the bush, we encountered giraffe, wildebeest, zebra, warthog, ostrich, deer and buffalo.
After the first morning’s ‘Hunting Style’ photoshoot, a long drive led to a mountain-top rock overlooking the plain, where we captured a new ‘look’ at sunset. On our return to camp at dusk, the vehicle headlights failed. When they flickered back on, a lone lioness stood ahead on the track before wandering slowly into the bush without looking back.
Setting off early for a sunrise photoshoot took us off-track into wider landscapes for the ‘Photographic Safari’ editorial. A wide, sandy, dry riverbed provided the perfect setting for the ‘Lifestyle Collection’ images with the team. The traditional end-of-safari ‘sundowner’ completed the campaign beneath an Acacia tree with a crescent moon overhead.
Returning to camp under emerging stars, we spotted a small herd of elephants with their young. Later that evening the same herd came down to the drinking pool, offering a rare low-light opportunity from the hide. The night concluded with the bright Milky Way stretching above the fire-pit deck under clear African skies.
The Explora Blog is the world’s premier online journal for field sports enthusiasts, outdoor adventurers, conservationists and admirers of bespoke gunmaking, fine leather goods and timeless safari clothes. Each month, Westley Richards publishes up to 8 blog posts on a range of topics with an avid readership totalling 500,000+ page views per year.
Blog post topics include: finished custom rifles and bespoke guns leaving the Westley Richards factory; examples of heritage firearms with unique designs and celebrated owners like James Sutherland and Frederick Courteney Selous; the latest from the company pre-owned guns and rifles collection; interviews with the makers from the gun and leather factory; new season safari wear and country clothing; recent additions to our luxury travel bags and sporting leather goods range; time well spent out in the field; latest news in the sporting world; and key international conservation stories.
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Only read this post today due to other distractions.A belated thank you to Brett for the visual enrichment of the WR story over
many years.On numerous occasions I commented to Simon and Trigger on the quality of photos that adorned The Explora and other WR media.I did not know who the photographer was ,now I do.Brett you have enriched the WR brand and provided a visual treat to us disciples of WR.We are hooked and please keep feeding our addiction.