Rob Lloyd, Account Manager

photo of Rob Lloyd, Bridgeman Images UK Account Manager
Rob Lloyd, Account Manager

What's your role at Bridgeman Images?

I'm an account manager in the UK sales team. My responsibilities include:

  • developing relationships with clients

  • researching project briefs for stills and footage requests

  • negotiating licences on behalf of the artists we represent and the museums and galleries whose content we administer 

I manage our relationship with some of the UK's leading publishers as well as publishing clients. I also handle copyright clearances for major exhibitions, providing a conduit between our clients’ and copyright holders and Estates.

 

What do you love most about your job? 

The variety! Every day there's a new challenge. This could be trying to find that perfect image or special piece of footage to elevate my client’s project to something special. Or guiding a client through the copyright clearance process.  It’s never dull.

 

What misconceptions do people most commonly have about the archive?

“I didn’t know you could do that” is a phrase I often hear from prospective clients. Bridgeman Images isn't simply an archive library. With nearly 50 years' experience we pride ourselves on the additional services we provide to our clients.

Don’t see something on our site you're looking for? We've a dedicated collections team who will try to find everything on your ‘wish list’ our worldwide suppliers. If you need an image manipulated, colourised or improved, we have a dedicated scanning department. Or if you are looking for ideas, one of our researchers can put together online lightboxes of stills and footage.

Rob's top picks from our archive

The Tube Train

Having lived in London for more than a decade, I've become accustomed to the perils of the daily commute. I find solace in the work of Cyril Power and his depictions of mid-20th century travel in London. 

His work is often dominated by the use of stark, aggressive angular shapes and patterns in the foreground. These are set against flowing curvature and light backgrounds. Together, they work to create both contrasting and complementary images.

The Tube Train with its rigid shapes encapsulates this. It depicts resigned commuters as they travel in one flowing tunnel. They are together in close proximity, yet travel to destinations unknown to each other.

The Tube Train, c.1934 (linocut), Cyril Edward Power (1874-1951), Private Collection, © Redfern Gallery, London / Bridgeman Images
The Tube Train, c.1934 (linocut), Cyril Edward Power (1874-1951), Private Collection, © Redfern Gallery, London / Bridgeman Images 

 

Storm in Harvest

I find this beautifully atmospheric and plays with positive and negative emotions. Sometimes I see how the small figures are compelled to work in the growing storm. They have little choice but to continue their desperate task before being consumed by the rolling thunder. 

On another viewing, I see them working tirelessly and urgently. In perfect union, they want to finish their task together against dark brooding clouds and violent lighting. It is filled with both hope and despair.

image of painting Storm in Harvest, 1856 (oil on canvas), John Linnell (1792-1882), © The Drambuie Collection, Edinburgh, Scotland / Bridgeman Images
Storm in Harvest, 1856 (oil on canvas), John Linnell (1792-1882), © The Drambuie Collection, Edinburgh, Scotland / Bridgeman Images

 

The Last Automat III

I love the way Max Ferguson brings the everyday to life.  His work often portrays modern-day New York through a nostalgic lens. This allows the viewer to witness a contemporary event or experience that has a vintage feel. He fills the image with a sense that you are witnessing the past and present simultaneously. Modern life continues unabated but remains heavily influenced by days gone by.

For me, his work is beautifully nostalgic while hinting that the past is helping to create the future.

image of The Last Automat III, 2003 (oil on panel), Max Ferguson / Private Collection / Bridgeman Images
The Last Automat III, 2003 (oil on panel), Max Ferguson / Private Collection / Bridgeman Images

 

Animal Farm

I first came across George Orwell’s Animal Farm at school. I didn’t appreciate its political satire then, but I developed a greater understanding while studying history and politics at university. This clip from the 1955 animated film by Halas and Batchelor is filled with hope for a better future. Here the animals adopt the Seven Commandments of Animalism, the most important being: "All animals are equal".

It is amazing to think that, back in 1943, publishers in the UK and USA were pressured to reject Orwell's manuscript out of fear of upsetting the USSR, their then allies. But in 1951 this animated edition was eagerly encouraged as relations between East and West deteriorated into the Cold War. In fact, the firm was secretly part-financed by the CIA!

 

Animal Farm part 19 - the ruling pigs change the commandments and Benjamin recognises Napoleon as a dictator, like Mr Jones. / Halas & Batchelor / Bridgeman Footage
Animal Farm part 19 - the ruling pigs change the commandments and Benjamin recognises Napoleon as a dictator, like Mr Jones. / Halas & Batchelor / Bridgeman Footage

 

 

Francis Bacon

To be honest I could pick any image from the Lewinski Archive. From 1966, Jorge Lewinski became the pre-eminent photographer of artists in Britain. His subjects include titans of British art such as Lowry, Hockney, Blake, Hepworth, Gormley and Gilbert and George.

What makes the archive special is how Lewinski chooses to capture his subject in their studio. You see their work, often in progress. There is always a keen sense of stylistic panache. This photo of Francis Bacon in his studio perfectly illustrates Lewinski's skill and ability to capture the personality of the artist.

photo of Francis Bacon, 1963 (b/w photo), Jorge Lewinski, (1921-2008) / Private Collection / © The Lewinski Archive at Chatsworth / Bridgeman Images
Francis Bacon, 1963 (b/w photo), Jorge Lewinski, (1921-2008) / Private Collection / © The Lewinski Archive at Chatsworth / Bridgeman Images

 

The Vietnam War

The Vietnam War was over before I was born. However it heavily influenced the classic films and television I grew up with in the 1970s and 1980s. As one of the first international conflicts filmed and photographed in colour, it still feels modern and raw. 

This photograph is by English photojournalist Larry Burrows, who was killed during the war. It shows the aftermath of a fierce firefight. The focus is on the two soldiers. Bloody, exhausted and demoralised, they are still determined to look out for each other and help each other off the battlefield.

photo from Vietnam war: Reaching Out (Operation Prairie, Mutter Ridge, Nui Cay Tri), Vietnam, October 5, 1966 (dye imbibition print, printed c.1997), Larry Burrows (1926-1971) / Museum of Fine Arts, Houston, Texas, USA / Museum purchase funded by David and Stephanie Mundy in memory of Joe Mundy, who served in the U.S. Armed Forces in Vietnam / Bridgeman Images
Reaching Out (Operation Prairie, Mutter Ridge, Nui Cay Tri), Vietnam, October 5, 1966 (dye imbibition print, printed c.1997), Larry Burrows (1926-1971) / Museum of Fine Arts, Houston, Texas, USA / Museum purchase funded by David and Stephanie Mundy in memory of Joe Mundy, who served in the U.S. Armed Forces in Vietnam / Bridgeman Images

 

Find out more

Need help with a project? Can't find what you are looking for? New images and clips are being uploaded every day.

Just get in touch with our team of researchers and copyright clearance experts.

 

 

 


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