Being a photographer means you are always on the go - your office is essentially wherever your work brings you. Our photographers and picture editors often use the tag #mygettyoffice on Instagram to show us where in the world they are.

Brett Sykes is a Field Editor for Dave Benett, photographer of the stars. He talks us through what it’s like to work with Dave at some of the most exclusive showbiz events.

Somewhere in London, there is a party happening right now.  There is a crowd of onlookers, autograph seekers, camera phones, security, velvet ropes, PR, guest lists, red carpets, photographers, flashes, cheers, “Eyes to the left, please”, cater waiters, cocktails, branding boards, face sheets, inside photographers, turntables, journos, canapés, and somewhere amongst all of that is a group of guests, some of them celebrities, who are awarding, celebrating, opening, exhibiting, promoting, or launching some film, award, album, musical, book, line or brand.  And somewhere within all of that, in some corner, cloakroom, backroom, hallway or nearby closet, I sit with a laptop on my knee and a mouse in my hand, sending images. That is my office. The venue changes, the people, the brief, but the core remains the same – I sit, surrounded by glitz and glamour, and I look at my screen – I’m a field editor, after all, it’s what I do.

(Photo courtesy of Brett Sykes)

Working for Dave Benett is a bit unusual.  He is the top entertainment news photographer in the city, so instead of covering one or two jobs a night, we attend just about every party that happens in London.  This means that we will sometimes attend 3, 4, even 7 jobs a night!  So my office is always moving.

A typical day might start with a film premiere at Odeon Leicester Square, sat on the cinema foyer floor with a handful of other editors.  Once that’s done, we’re on the go, but the work doesn’t stop.  I usually continue to work as we walk, laptop cradled in front of me, being careful to walk directly behind Dave so as to avoid walking into anything or anyone, until we get to his car – a black Mustang Roush.  As the engine roars to life, suddenly my office is on wheels, and we’re flying through the streets of London.  I used to need motion sickness pills to work in the Mustang, but somehow my body has adjusted and I can still edit away while the city flickers past me.

(Photo courtesy of Brett Sykes)

We arrive at the next job, say an art exhibition across town – “Hello… How are you… do you have a place where I can work, a chair would be great… do you know the wifi code? Is there a guestlist?” – images sending throughout. 

Next, we’re on the move again, walking around the corner to store opening – “Hi, how’s it going?... I’ll need some power… preferably by a window… do you have a face sheet? Why, yes, I ‘d love a gift bag, thank you! “ - FTP still moving along. 

Next up, back in the car on our way to a book launch – tiny space, I’ll work in the car, what’s the title of the book, send the desk a test, approved – keep sending.  We’ll finally end up at an after party somewhere, usually in a basement or some other place the internet forgot – no signal, no wifi, get cards, work downstairs, is this caption correct?, run upstairs, send, repeat, are those mini-burgers,?, yes please, approve with client, what’s your email, send links –sigh, done, finally the FTP rests.

It can all become a blur, and often when asked what I did the day before, I can’t actually remember, but I wouldn’t have it any other way.  After all, having an office the size of London ain’t bad, and you can’t beat the view.

(Photo courtesy of Brett Sykes)

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