Photo, video and motion
Your marketing is only as good as the pictures and the footage in it.
You can have a fast website, a tidy Google profile and a real ad budget, and still lose to the shop down the road because their photos look like the food tastes and yours look like a phone in bad light. We fix that at the source. Stills, video, interviews, all captured on the same day by a photographer and filmmaker with national campaign credits. Then we take every frame and actually deploy it, everywhere it earns its money.
On set
Not every job is a national campaign.
These are the last three shoots: a tool shop, a restaurant kitchen and an interview in a designer's own office. Lights, stands and a field monitor, in somebody's actual place of business. Nothing here is stock footage of a film crew.
The problem nobody names
Most local businesses are not losing on price. They are losing on the photo.
Somebody is deciding whether to eat at your restaurant, book your room or buy your product while standing in a parking lot holding a phone. They are looking at a picture. That is the entire sales conversation, and it lasts about a second and a half.
We see the same thing on nearly every site we take over. The business is good. The product is good. The owner is proud of it, rightly. And the website is carrying three blurry phone shots, one photo from 2019 with a different logo in it, four stock images of people who have never set foot in the building, and no video at all.
Then we look at the analytics and the story is always the same. People arrive, they scroll about a third of the way down, and they leave. Nothing on the page made them want to stay. The copy was fine. The load time was fine. The pictures did not make anybody hungry, or curious, or confident.
Stock photography tells a visitor one thing very clearly: there was nothing here worth photographing.
The fix is not complicated, it is just rarely done properly. Shoot the real thing, properly, once. Then use it everywhere. That second half is where most photography budgets quietly die, and it is the half we are actually built for.
Where it all goes
A shoot is not a deliverable. It is an input.
Handing a client a folder of 200 JPEGs is where most photography engagements end. It is where ours starts. Every frame has a job, and the job decides the crop, the size and the file name before the shutter ever fires.
Your website
Hero images cropped for the frame they actually sit in, compressed so they do not cost you a second of load time, and named so Google knows what is in them.
How we shoot for the web →Your Google profile
The most looked-at and least maintained photo gallery you own. It affects how often you show up in the map pack, and almost nobody feeds it.
The Google photo strategy →Your ads
Creative is the biggest lever in a Meta or Google campaign, bigger than targeting. Bad creative makes you pay more for the same click.
Photography for ad creative →Your menu
Menu boards, printed menus and the delivery apps, each of which crops your picture to a different shape and will happily ruin it for you.
Menu and delivery photography →Your online store
Marketplace listings have rules about background, margin and dimension. Break them and the listing gets suppressed, quietly.
Product photos that convert →Your feed
One shoot, captured deliberately wide and tall and square, in stills and in motion, is a quarter of social content instead of a fortnight of it.
Building a content library →Your own voice
Twenty minutes on camera answering the questions customers actually ask becomes fifteen clips and the most trusted page on your site.
Interview and testimonial video →Your video
Short vertical clips, a brand film, the process nobody gets to see. Captured the same day as the stills, while the lights are already up.
Video and motion →Selected work
Campaign work, shot for brands that had to sell something.
Every frame below is from Allen's archive. National campaigns, restaurant groups and packaging work, shot in Colombia, across Latin America and now on Florida's Treasure Coast.
Photography by Allen Velasquez. Used with permission. See his portfolio
Brands in the archive
Work that has already run at national scale.
The craft side
Want the photographer, and nothing else?
Perfectly reasonable, and we would rather point you at him than talk you into a marketing engagement you did not come here for. Allen takes his own bookings directly, and these are his pages, on his own site.
Food and restaurant
Menus, hero shots and social libraries, shot for national restaurant groups.
On Allen's site →Beverage and product
Bottles, cans, packaging, and the condensation on the glass.
On Allen's site →Real estate and architecture
Interiors and exteriors for listings, developers and hospitality.
On Allen's site →Corporate and portrait
Founders, teams, and the people who actually make the product.
On Allen's site →Marine and yacht
Listing and brochure photography for brokerages on the water.
On Allen's site →
Allen Velasquez, commercial photographer
Two decades of national campaign work for Juan Valdez, Mercedes-Benz, Ferrero, Gatorade and Pepsi, now shooting on Florida's Treasure Coast. He runs his own photography business and takes his own bookings. If the shoot is all you need, go straight to him.
Common questions
Before you ask
Do I have to buy marketing to get the photo and video?
No. If all you want is a shoot, book Allen directly and we are genuinely happy about it, which is why his contact details are on this page rather than buried. Where we add something is on the other side of the shoot: getting the frames onto your site at the right crop and weight, into your Google profile, into your ads and into a content calendar so they keep working for a year rather than sitting in a folder.
Who owns the photos?
You do, for the uses agreed before the shoot. That gets written down in plain English before anyone books a date, including where you can run them and for how long. Allen keeps the right to show the work in his own portfolio, which is standard and is how every photographer you have ever hired works.
How far do you travel?
Palm Beach County and the Treasure Coast are the home patch, so Palm Beach Gardens, Jupiter, Stuart, Port St. Lucie, West Palm Beach, Wellington and Vero Beach are all routine. Further than that is a conversation about travel, not a no. See the coverage page.
What does it cost?
It depends on how much you need shot and how much of it we are deploying afterwards, so anyone who quotes you a flat number before asking is guessing. We wrote down how the pricing actually works, with real ranges, on the photography pricing page, because almost nobody local publishes theirs and it makes the first conversation faster.
We already have photos. Are they any good?
Send them over and we will tell you straight. Sometimes the answer is that the photography is fine and it is being used badly, which is a much cheaper problem to fix. We would rather say that than sell you a shoot you do not need.
Next step
Let us look at what you have got.
Send over your website, your Google profile, whatever photography you already own. We will tell you straight what is worth keeping, what is costing you, and whether you need a shoot at all. No charge and no pitch attached to it.