International Hotel Photographer: Inside the Maybourne Riviera Shoot
Inside the life of an international hotel photographer: the Riviera – in June 2025 I travelled to the Maybourne Riviera in the south of France to create a library of imagery across suites, lobbies, spa and restaurants for one of the world’s leading luxury hotel groups. The brief was to tell the story of this dramatic coastal property while keeping a strong, recognisable visual style that sits alongside their other hotels. Guests scrolling the website or social channels should instantly feel they are in the same Maybourne world, whether they are booking a stay in London or on the Riviera.
Why brands fly me out
Luxury hotel and hospitality brands don’t just need beautiful pictures; they need a consistent visual language that works across every property, city and channel. I’m brought in as an international hotel photographer because I understand how to translate a brand’s look and feel into very different spaces – from cliff‑top suites and spa pools to intimate restaurants and public areas – without losing that thread. Over time, that consistency builds trust: returning guests recognise the brand immediately, and new guests have a clear sense of what to expect before they arrive.
The Maybourne Riviera: the brief
At the Maybourne Riviera, the focus was on creating a comprehensive, long‑lasting image library that felt unmistakably “Maybourne” while celebrating the drama of the coastline and the architecture of the hotel. The brief combined architecture, interiors, spa and lifestyle details, all captured in a calm, refined way. Every image needed to feel luxurious and considered, but also natural enough to sit comfortably with existing imagery from their London properties.
Light, weather and the realities of a coastal location
Working with strong Mediterranean light meant planning around very specific times of day so we could work with the light not against it. Early mornings and late afternoons were reserved for key exteriors and sea‑facing suites, when the sun sits lower and the coastline looks its best. The hotel’s position on the cliff also meant carefully choosing angles that showed off the views without losing the sense of intimacy in the spaces. It was always a balance between scale and serenity: making the most of the epic setting while still inviting the viewer to imagine themselves in the room.
Ten days on site: team, trust and momentum
Because this was a ten‑day shoot, building strong relationships with the team on site was just as important as the shot list. When you spend that long together, the trust that develops with marketing, PR and operations means everyone feels comfortable suggesting ideas, problem‑solving on the fly and adjusting plans when the weather or guest flow changes. We worked closely each day to prioritise spaces based on light, occupancy and operational needs, so the hotel could continue running smoothly while we shot.
That sense of a shared project is what allows you to move quickly, keep the mood positive and still protect the level of detail and consistency a brand like Maybourne expects. Good chemistry on a long overseas shoot makes it much easier to capture those quieter, in‑between moments that often become the most memorable images.
Pre‑production and flexibility
The Riviera project underlined how much pre‑production shapes the final result on international shoots. Before arriving, I worked with the team on reference imagery, a flexible shot list and a broad schedule for the ten days. Once on site, we walked the property to understand how light moves through the building, when spaces are at their calmest, and which angles best show the relationship between interiors and sea views.
That preparation meant we had a clear plan, but also enough flexibility to swap locations as weather and guest patterns changed. Some of the strongest images came from leaning into that flexibility, returning to a bar or terrace when the sky, sea and atmosphere all aligned.
What clients can expect from an overseas shoot
For hotel and interior clients, my role on an international project is to support the producer or lead client in removing as much friction as possible. Ahead of time, we work together to agree priorities, shape a realistic yet ambitious plan, and create a shot list that will work hard across web, print and social, mapped around guest experience and daylight. On site, I keep a close eye on light, flow and detail so we can adapt the plan as needed. After the shoot, clients first receive an online moodboard of image selects to review and choose from. Once selections are confirmed, those images are fully edited and delivered in versions sized for different channels.
What I’ve learned from the Riviera
Working on a ten‑day shoot at the Maybourne Riviera has reinforced how much the success of an international hotel project comes down to preparation, light and people. I’ve learned that the more time you invest upfront in understanding the brand, walking the property and planning around light and guest flow, the more freedom you have on the day to experiment and catch the unexpected moments. I’ve also seen how strong relationships with the on‑site team transform a long schedule into a genuinely collaborative process, where everyone is focused on telling the same visual story. Most of all, the Riviera reminded me that the best hotel images don’t just show a space – they capture how it feels to arrive there, and that feeling is what guests remember when they decide where to stay.