Adore were two years into the market and wanted a visual refresh that would actually move sales. We proposed a visual uplift built on their own brand colour and took the creative strategy, palette and styling end to end, presenting the product in a premium, unmistakable way. Running ads on the content brought a 20% lift in sales.
Yala Bucha had been in the market a while, but kombucha is still unfamiliar to most people here and the name alone put buyers off. We shot it as a cold soft drink rather than a wellness product, so it reads as something you simply want to drink. That got people past the name and trying it — sales rose at least 10% and visibility online grew with them.
Sandos is part of a larger brand line, but the page read like any other burger shop — nothing on it said who they were. We proposed a modern direction built on their own brand colours, which gave them something distinct to push through the winter season and lifted sales.
Well Health came to us from an account built on discount offers, which made a healthy brand look cheap. We shifted it to lifestyle — the product and the life around it — in a single visual uplift, and it brought in an entirely different kind of customer.
Photolicious photographed AlBaik for a campaign with talabat. The project combined food imagery with a colourful campaign direction, bringing a youthful visual treatment to a familiar brand.
The aim described in the existing project was to show the food in a fresh way without losing the recognisable character of AlBaik. That balance informed both the direction and the photography.
Photolicious developed the creative direction for this campaign. The existing work uses a fresh, colourful approach, with the food remaining the main subject. Still photographs and the project film are presented together below.
This selection comes from the existing AlBaik portfolio. It offers a closer look at the campaign’s food imagery and the way a single creative direction carries across photographic and moving-image work.
Photolicious produced product photography and campaign imagery for Pizza Hut around the 2023 Cricket World Cup. The existing project records the brand using the work in-store, on outdoor billboards and across digital channels.
The scope brought product photographs and campaign frames together. This gave the project a clear food focus while connecting it to the wider sporting occasion.
The existing portfolio describes the work as bold and campaign-led, with imagery intended for billboard-scale presentation. The selected photographs below show the food imagery created within that direction.
Product photography and campaign imagery serve different parts of a brand’s presentation. This project includes both within one body of work. The gallery offers examples from the existing Pizza Hut portfolio, while the original project record identifies the in-store, outdoor and digital uses.
Henry is a pickup food-truck concept that needed to promise a fine-dining experience, with no dining room to shoot in. We built the entire mood inside a location the owner provided using props and direction alone, so the visuals sell a table the brand does not physically have.
Shot came to us mid-rebrand, moving from black to navy and white, with no existing reference for how the new identity should behave in content. We set the direction from zero — colour, styling and content strategy — built for where the brand was heading rather than where it had been.
A Japanese-leaning fast food concept whose launch films lived or died on casting that actually read as the brand — the single hardest element to source. We found the right face through our supplier network and built the videos on a direction that matched the concept rather than a generic fast-food template.
Yuki runs seven branches, all outdoor food-truck sites, so a 150-item range had to be covered with no studio to fall back on. They wanted a full revamp of their visual look, and we built one: a complete brand world shot outdoors where nothing in frame says location. Against the old visuals it lifted sales 15%.
Memoria needed a full visual uplift for the brand, not a one-off refresh — and a small room that had to stop reading as small. We rebuilt the look around fresh, simple frames and natural light, and it lifted sales 15%.
Maki is a premium Japanese brand, and every dish had to carry that before anyone read a price. We shot across two days on a dark palette and kept the styling deliberately simple, so the luxury comes from restraint rather than decoration.
Shawaya’s delivery listing was underperforming on basic images, so we proposed rebuilding the whole range for the aggregator rather than for the wall. Sales rose 30%, and they have kept climbing since.
A cloud kitchen lives or dies inside an aggregator grid, where every competitor shoots the same food on the same white. We proposed green as the brand’s signature and built the whole range on it, so the listing stops the scroll before the dish is even read.
Voya wanted a look that felt natural and sunlit without losing the premium read, and baked goods are unforgiving — colour and surface shift fast under lights. We covered the full range in a day with their team supporting the bakes, keeping every crust and crumb in the right tone. Sales rose 12% after the uplift.
Thirty products, a large share of them sealed inside glass — the hardest thing to shoot cleanly, with reflections, double edges and colour shifts all arriving at once. We lit and styled the range so the product reads clearly through the glass while the packaging still looks premium.
Probiotico sells a flavour the bottle cannot show, and a plain product shot leaves the customer guessing on an aggregator or a web store. We shot in the client’s own space and built every frame around the ingredients beside the drink, so the flavour reads from the photograph alone.
We took Brylo on as a small operation and started with a visual uplift, then stayed with them month to month for six months. By the end of it they were running two branches and two central kitchens with a team of more than fifty — and the content was a real part of that scale. When Brylo ran our content as ads, it returned 12x.