I shoot, direct and edit the work myself. Nothing is handed over halfway and hoped for.
A small company does not come with photography already made. Boat Harderwijk needed its boats shot on the water before there was a brochure to put them in. Loft Harderwijk is booked months ahead by people who have never stood in the room, so the photographs are the room. De Roskam was photographed the week it reopened, because an interior is never as complete again as it is on the first day. It runs to film as well: the pultrusion line at Prince Fibre, on-farm and kitchen work for the European poultry campaign, the cover and portrait for AIC Visser. Usually a small crew, and the same pair of hands from concept to final frame.
Because I design the digital brand as well, the imagery is planned to fit where it will live: crops that work in a hero and a card, colours that sit inside the palette, and files delivered in the sizes the system expects.
Four steps, run in short loops rather than one long waterfall.
- 01
Concept
Moodboard, references and a shot list built from the brand system. Every frame on the list has somewhere to go before a day is booked.
- 02
Prepare
Casting, location, styling and permits. Most of the quality of a shoot is decided in the week before it, not on the day.
- 03
Shoot
Small crew, long enough day, and a monitor everyone can see. I shoot to the list first, then chase the frames that only appear once the day is running.
- 04
Deliver
Selection, grade and export in the formats the channels need, with usage notes so the images stay on brand after they are handed over.
Every shoot starts with the brand system. Colours, crops and casting are decided before the camera comes out, so imagery lands ready to use.
A speedster on Lake Como and a trainer mid-session in a gym in Nunspeet are very different shoots, but the thinking is the same: give the frame a point of view, and arrange no more than the subject needs.
Not every project needs all of it. These are the parts.
Campaign, product and portrait photography: planned, shot and retouched in-house, and art-directed to sit inside the brand system rather than alongside it. Because the digital side is designed here too, every frame is planned for where it will live, with crops that survive a hero, a card and a social post without a rescue edit.
Brand films, social cut-downs and aerial work: one crew from storyboard to colour grade, so the story stays sharp across every format. Sound, subtitles and versioning are part of the delivery rather than an afterthought, which matters more than resolution on channels people watch muted.
Concept, casting, location and styling decided before anyone presses a shutter. Most of the quality of a production is settled in the preparation week: the shot list, the people in front of the camera, and the light chosen to work with.
Brochures, packaging and title design that translate the digital brand into ink and film, produced press-ready. Print forces decisions that make a brand stronger everywhere: real hierarchy, real restraint and type that has to work without a hover state.
