INTERVIEW – The Artistry and Story of Rob Nicholson and Pedalo Photography
I had the pleasure on Sunday to drop in on the lively photography studio of Rob Nicholson, a resident of Sheffield’s Kelham Island, the renowned creative hotspot. One of his remarkable shots that drew my eye was his compelling headshot of Owen Cooper, an actor famous for playing the 13-year-old Jamie Miller in Netflix’s hit series Adolescence. As I ventured further into Rob’s work, I discovered that he and his company, Pedalo, specialise in a broad range of photographic styles distant from the standard portraiture. Rob’s portfolio is proof of his creativity and skill, from beautiful fashion photography that conveys the essence of contemporary style to iconic photographs of iconic bands that capture the essence of live performances.
Photography has always been dear to Rob’s heart, and it is a family tradition, as it were. His uncle was a photographer for The Sheffield Star, photographing the city in all its glory. Rob was brought up surrounded by creativity. His brother was the original bassist of the rock band Arctic Monkeys, and his great-uncle and grandfather were both involved in creative pursuits like photography and music. It was when he was five years old and visited a studio with his uncle that the seeds of what would become an all-out passion were planted.
Rob’s story is an interesting tale of inspiration, luck, and sheer determination. From sharing a family of photographers to the unexpected roots of his business, Pedalo, it is a story of life’s turns of fate that can lead to something truly wonderful. Lockdown pictures on his phone soon became a thriving company, and with Rob’s innate talent, it birthed some vibrant partnerships within the hospitality network in Sheffield and beyond. In Rob’s own words, “This is how Pedalo was born.”
It was way back in February 2020 that Rob bought his first proper camera. It was a decision born out of curiosity and boredom. “I’ve always enjoyed creating things,” Rob explains, “but I’d only ever used my phone for photos. I wanted something proper.” This simple decision set off a chain of events that would transform his hobby into something much bigger.
Time was opportune, with the lockdown allowing Rob to explore his hometown through his lens. He started driving out to the Peak District, photographing landscapes and views that appealed to him. These serenity-filled moments spent out of town were what started his foray into the world of photography.
Rob then began to share his photos of the peaks and various other bits on Instagram, where his work caught the attention of his friend and fellow photographer, James, who is a bar owner in Sheffield. James saw potential in Rob’s talent and encouraged him to try photographing cocktails. “He messaged me saying, ‘These photos are brilliant. You should do this with cocktails,” Rob recalls. Taking his advice, he began experimenting with bar photography, shooting vibrant, eye-catching images to help promote the bars.
Lockdown had a way of reshaping hobbies, and for Rob, it did something more. “James and I talked about the idea of making it a business,” Rob tells me. He said, ‘You’re getting really good at this, you should go for it.’ And that’s exactly what happened.
Rob’s journey with cameras is one of continual growth. He started with a second-hand Sony A7, bought from Harrison Cameras for £500. Rob built his kit with the help of his brother, from whom he borrowed Sony-fit lenses. He then upgraded the camera’s body to a Sony A7 III and bought a Sony A7 IV to add depth to his kit. “The hybrid capabilities of Sony cameras are fantastic,” Rob says. “They’re perfect for both photos and videos.”
His hometown of Sheffield has been a huge source of inspiration for many creative projects. “The city is like a photographer’s paradise,” he raves. “The juxtaposition of factory landscapes, brutalist icons like the O2 Academy, and beautiful natural views presents endless opportunities for creativity.” Regarding work, a particular favourite of Rob’s was the Sheffield FC kit launch at Park Hill. “It was a landmark job, his first paid booked gig with a reasonable budget. The shoot combined Sheffield’s heritage with a fashion-forward aesthetic,” he says. “It felt like a big moment.”
The shoot wasn’t just about showcasing a football kit, celebrating Sheffield’s heritage, and presenting the kit in a fashion-forward light. “We wanted people to see the kit as something they’d wear out and about, not just on the pitch,” Rob explains. He collaborated with the Peter and Paul Design Company, who had set up a mood board and clear creative direction. The models weren’t all professionals; some were simply people from a shop on Division Street, styled by the team.
Rob vividly remembers the chaos and excitement of the shoot. “I was new to this kind of project, and I’d be rapid-fire shooting thousands of photos. We might use ten out of all of those,” he laughs. The preparation was intensive, involving test shots at various Sheffield locations. “Most work happens before you even drive out for the shoot. The planning is key.”
The hard work paid off. The kit launch received widespread recognition, appearing on platforms like Footy Headlines and Mundial magazine. “Seeing my photo in Mundial was such a buzz. It was one of those moments where I thought, ‘I can do this.” That summer, Rob attended Tramlines and spotted multiple people wearing the kit. “It was exactly what we wanted, to see people embracing it. That was a proud moment.”
Rob’s openness to exploring different kinds of photography has led him down some fascinating paths. What began as scenic walks with his camera soon expanded into capturing portraits and moments with people. “I realised pretty quickly that I actually liked shooting people,” Rob explains. He started by taking photos of his brother for his production projects. The two would head out to find interesting spots and experiment with different setups. “I was still doing a lot of scenic photography at the time, but I was learning more about what makes a good photo, what works and what doesn’t, at least in my own view.”
For Rob, photography isn’t about having the fanciest equipment or the most expensive camera. “It’s all about taking the shot,” he says. “It’s seeing that moment come together, having it flash through the viewfinder, and knowing you’ve got it. That’s what I love.”
This mindset served him well when he began branching into music photography. One memorable early experience was shooting a live gig of Little Simz. “I was in the pit, snapping away during the first three songs,” Rob recalls. “I remember seeing one particular shot flash through, and I just knew I’d nailed it.” He connected his camera to his phone on the spot, eager to review what he’d captured.
Little Simz used the picture on her social media, and that success ignited even more of a spark. Rob went on to photograph many bands, like Milburn during their mini-tour and Self Esteem during her Tramlines set, producing images he’s particularly proud of.
But one of Rob’s favorite music shots isn’t your typical stage photo. “It’s from an Arctic Monkeys gig at Hillsborough Park,” he shares. “It’s not focused solely on the Alex Turner; it’s this wider shot that captures the whole energy of the event, with the band framed by the crowd. People loved it; I ended up selling around 50 prints of that photo.”
These experiences have taught Rob the importance of blending artistic vision with practicality. “It’s about knowing what you want to achieve while staying open to the unexpected moments,” he says. Whether he’s shooting live gigs or creating portraits, Rob approaches every project with a sense of curiosity and a willingness to adapt.
Rob’s journey in photography has also brought him into creative collaborations with well-known musicians and artists. One of the most memorable experiences was working with Jon McClure from Reverend and the Makers. “I’ve known Jon for 20 years through the music scene and all kinds of gigs. Before he started driving, I’d often give him lifts to gigs. It was always fun, being part of that environment,” Rob reminisces.
But it wasn’t until recently, about six months ago, that Rob became more actively involved with Steve Bracknall’s creative projects. “The Bracknall series was something I’d helped out with in bits, secondary filming or just pitching in as a mate. Eventually, I was the main camera for it, though I was literally using my phone to film. It’s funny how it worked out.”
Rob’s approach to working with creative people is simple: let them play. “When someone says, ‘Let’s try this,’ I’m always up for it. That openness to experiment is so important in the creative world. If something doesn’t work, it’s no big deal. But if it does, you end up with something amazing.”
This mindset led to creating engaging green-screen videos, Q&A content, and earthy, warm-toned photography that aligned with Jon’s music at Yellow Arch Studios. Rob describes their approach as collaborative, always aiming to visually complement the album’s sound. Some of the shots even turned into posters, including one for a gig in Australia.
Working with Jon, Rob has embraced the history and culture of Sheffield in their projects. This took him to venues like The Boardwalk, Leadmill, Fagans and more. Some shoots even dived into Sheffield’s heritage, like a piece exploring the story of the blind fiddler who played at Paradise Square in the 1700s. “I love how Sheffield’s stories add depth to a project. “It’s exciting listening to Jon, who has such a rich knowledge of the history of Sheffield and helping bring history to life.”
Rob’s creative process extends beyond photography, blending storytelling with visuals. From flying drones to film reels to capturing interviews with a handheld mic, Rob adapts effortlessly to the project’s needs. “We just keep finding new ways to tell stories, whether it’s about music, history, or the vibrant life of Sheffield.”
Rob’s relationship with reknown artist Pete McKee goes back years, even before he started working with him professionally. “I’ve known Pete for quite a while,” Rob shares. “He actually did a commission for my brother and me around 2007 or 2008, a Christmas present for us with our dog at the time. It’s a special piece that still means a lot to me.”
Their paths crossed again more recently through a series of serendipitous events. Rob remembers one moment that kick-started their collaboration. “I was taking photos at Crookes Social Club with Steve”, he recalls. “When I edited the photos, I realised one of Pete’s artworks was on the wall in the background, and the subjects were sitting in the same pose as in his piece.”
Pete responded, “That photo is incredible.” This led to an email from Chris Pete’s manager, inviting Rob to meet with Pete and discuss an upcoming exhibition. “The exhibition was called ‘Don’t Adjust Your Mindset,’ and it was going to feature everyday people in relatable situations, but with papier-mâché emojis added into the mix,” Rob explains. Pete had sketched out some concepts, and the team wanted to bring them to life through photography.
Rob and his collaborator, James, carefully considered the creative approach. “Pete originally wanted the shots done on film, but we decided to go digital; it was safer and more practical,” Rob says. They spent three days shooting across various locations to create the five final images for the exhibition.
One standout shoot occurred at Fagans, featuring a papier-mâché emoji representing an angry drunk while other patrons acted out the scene in the background. Another took them to the children’s hospital, utilising one of the few spaces in the building that hadn’t been renovated yet. “The whole project had this quirky, artistic vibe, and seeing how Pete’s vision came together was exciting.”
The collaboration flourished. The photos became part of the exhibition, and Rob continued to work with Pete on various photography projects. “It’s funny how one photo can spark so much,” Rob says. “That Bracknell photo led to all this years later; I’m still working with Pete and proud of everything we’ve created together.”
Their work, including the “Don’t Adjust Your Mindset” images, has been immortalised in a book that Rob treasures. “The book is amazing,” he shares. “It’s filled with all the photos from the exhibition. I’ll have to show you sometime; it’s such a great collection.”
Regarding dream collaborations, Rob’s aspirations span a mix of unexpected and bold ideas. “There are a few people in music I’d love to work with,” he shares. “Surprisingly, given my background in guitar and band music, one of those artists would be Miley Cyrus. She’s incredible; her creativity is just next level, and I think I could do something really unique with her.”
On the brand front, Rob recently dipped his toes into projects like Pro:Direct, shooting the launch of their new Adidas boots alongside his other photography ventures. “I was just taking some extra photos during a Steve Bracknell project, and they ended up using those shots to launch the boots. That felt really rewarding,” he says. “I’d love to do a kit launch for a football team one day. Sheffield United would be a dream project, and even Sheffield Wednesday, I’ve got ideas for making something really cool for either club.”
Rob’s openness to experimentation and new opportunities has guided much of his work. “I try to just go with the flow and see where it takes me,” he explains. “It’s about being ready when the right opportunity comes along.”
When reflecting on his influences, I see that Rob’s inspirations have evolved as his style has developed. “In the early days, when I was shooting more scenic stuff, I was drawn to photographers I found online,” he says. “Sean Tucker is one I really admire for the way he plays with shadows in his street photography. James Popsie’s scenic work also caught my eye, even though my style doesn’t really mirror his.”
Rob found inspiration for portraits and cinematic shots in a Detroit-based photographer named Vuhlandes. “His early work had this 1980s, film-like quality, often featuring street gangs in Detroit. That raw, gritty style really struck me, even though I’ve mostly shot digitally.” Over time, Rob’s influences have broadened, including filmmaker Wes Anderson’s signature framing. “I love his use of big spaces and small subjects. I’ve tried to bring it into my work, whether it’s a cement factory at Hope or a drone shot of the Park Hill incinerator. That idea of making the subject feel small within a vast space is something I’ve carried into portraiture too, especially in studio settings.”
As the world shifts towards content-driven platforms, Rob is keenly aware of the evolving role of photography. “There’s always going to be a place for photography,” he says. “But in today’s world, with such short attention spans, you have to embrace other mediums like video as well. It’s about balancing capturing still moments and creating dynamic, engaging content.”
Through all of these shifts, Rob remains committed to one thing: adaptability. “The world of content creation is constantly changing, and you’ve got to be open to experimenting. Whether it’s video, drone work, or traditional photography, the key is staying versatile.”
As Rob reflects on his work, he emphasises the importance of adaptability in his craft. “With the rise of video content, AI tools, and the ever-changing creative landscape, it’s all about being open to new ways of storytelling,” he says. While Rob remains deeply passionate about photography, he recognises the need to diversify. “Transitioning into video was a bit of a mental hurdle at first because I identified so strongly as a photographer. But I’ve come to realise, it’s all about creating something amazing, no matter the medium.”
Rob’s ability to balance creative spontaneity with precision has led to some of his most rewarding projects. Whether it’s stitching together an AI-enhanced image for a Beyoncé-inspired shoot from the clothing brand upstairs or capturing the perfect frame that tells a story, Rob takes pride in putting his heart into every piece. “It’s moments like when I see people wearing the kits I’ve shot or when a collaboration sparks something unexpected, that’s when I know I’m doing what I’m meant to do.”
Looking ahead, Rob is excited to continue exploring the intersection of creativity, technology, and human connection. “I’m always open to collaborating with new people and brands, whether it’s for headshots, campaigns, or creative projects. I just love the process of turning an idea into something tangible that resonates with people.”
Rob remains as humble as ever for anyone looking to work with him. “I’m grateful for every opportunity that comes my way,” he shares. “It’s amazing to see how far this journey has come from picking up that first camera back in 2020.”
You can check out Rob’s photography over at Pedalo here: Pedalo Photography
RACHEL BROWN
OWNER AND EDITOR OF NORTHERN EXPOSURE
Author
