"I don't know if there's ever been a more important time to be good at what I do."
Will Sawyer


Jules Heath is a photographic artist who made his first works as a documentarian and then became best known for his work in feature film publicity.


Raised and educated mainly in England, he has no formal photographic education; the most he gained was 6 weeks at A-level. Nevertheless, he took an early interest in the transition to digital photography in the late 1990's, utilizing an early Pentax and grading on a cracked version of Photoshop.


His grading work led to early commissions in the television art department, before he was introduced to New Zealand advertising photographer Todd Antony whilst in his late twenties.


He became interested in movie marketing mostly through the early works of American stills photographer Clay Enos, but also cites Britains Tim Flach (Equus/Dog's Gods) and Jill Greenbergs Ursine as major influences on his later film work. But it was his friendship with Todd Antony which led him to develop his style and apply it to film marketing.


Starting on small British productions, including Ben Wheatley's Sightseers, Charlie Brooker's A Touch of Cloth, and The BBC's The Missing, his biggest hit of this period was when he was called in to cover the last day of the musical adaptation of Les Miserables. This introduced him to the Hollywood community finally leading to his first full studio commision with The Book Thief.


He cites his work with two DOP's as being particulary influential on his work during this time; Florian Ballhaus and Ben Davis.


After producing publicity imagery for several more small productions, including Starz Da Vinci's Demons, Heath was hired for J.J. Abrams long awaited Star Wars epic The Force Awakens, marking his 3rd involvement in an Oscar Nominated film.


Producing over 40,000 images for the Lucasfilm archive, as well as achieving a personal career milestone in garnering 4 covers for famed film magazine Empire, he then returned for Gareth Edwards Rogue One. Between these two films he developed a new lighting style because he always wanted his work to look like Tim Flach's and didn't know how to.


His best known work is on the poster for The Force Awakens, Disneys' record breaking and highest grossing film at over $2billion.


He remains incredibly frank about his own work, readily identifying that which he considers good and bad. When asked why more of his early work remains unpublished he said "because it wasn't good enough". He cites his personal favourites as Da Vinci's Demons, The Force Awakens and The Book Thief.




Gear: Canon EOS 5D mkII/mkIII w. 50mm 1.2, 85mm 1.2, 135mm 2.0,

180mm 3.5, 24mm 3.5 TS, 24-70mm 2.8 zoom, 70-200mm 2.8 zoom, Manfrotto Tripod & Geared Head, Magic Arm, 15" Macbook Pro, 27" iMac with Photoshop CS, Capture One



20th Century Fox, BBC Worldwide, Lucasfilm, Starz, GETTY Images, Channel 4, SKY, BIG TALK, Working Title, NBC Universal




2009 World Wildlife Photographer of the Year - Semi Finalist

2012 PDN World In Focus - 2 images

2012 Creative Review Photography Annual - 1 image

Jules Heath, Self Portrait