Photography · Events · Places · Portraits

Photography you can actually put to work.

Corporate reportage, events, architecture, product and studio portraits. Shot in Antwerp and on location across Belgium — framed, graded and cropped for the places the images really have to live: the annual report, the pitch deck, the recruitment page, the trade stand.

See selected work What I photograph
  • Commissioned since 2009
  • Events · Places · Portraits · Product
  • Antwerp, Brussels, on location
Industrial site in Antwerp photographed at blue hour for a corporate reportage

BASF · Antwerp · blue hour

Disciplines

Four kinds of picture, one way of working

Each commission starts with the same question: where will this image be seen, and what does it have to do there? The answer decides the lens, the light and the length of the shoot — not the other way round.

  1. 01

    Events

    Conferences, openings, awards, sponsors' evenings. A documentary approach that stays out of the room: no blocking sightlines, no re-staging the moment after it has passed. Usable frames of the people who were actually there.

  2. 02

    Places

    Architecture, industrial sites, offices, retail and public buildings — including construction and works-in-progress documentation. Wide establishing shots plus the details that show how a space is really used.

  3. 03

    Portraits

    Executive portraits, board and team shots, staff features. Fifteen focused minutes on site, with a light setup that can be carried into any meeting room or factory floor — and a face the person recognises afterwards.

  4. 04

    Product & still life

    Objects, packaging and equipment photographed with intent: consistent angles, clean backgrounds, colour you can match in print. Ideal for catalogues, spec sheets and campaign material that must stay coherent across dozens of items.

Selected work

Six commissions, six different problems

A cross-section of the archive: an event that had to feel like the room it happened in, a portrait shot in ten minutes between meetings, an industrial site photographed without a single flash.

UNIZO corporate reportage photograph made in Antwerp UNIZO Corporate reportage · Antwerp Executive portrait of Serge Fautre photographed for Cofinimmo Cofinimmo Executive portrait Guests photographed during a Generali event in Brussels Generali Event · Brussels Portrait of cyclist Victor Campenaerts for Lotto Cycling Lotto Cycling Portrait · on location Staff portrait made on site for Watergroep Watergroep Corporate portrait Portrait of Stephanie Pecher photographed for BNP Paribas Fortis BNP Paribas Fortis Portrait · Brussels

How a commission runs

Brief, light plan, selects, delivery

The same four steps whether the job takes twenty minutes or four days. Nothing is invented on the day that could have been decided beforehand.

  • 01 — Brief before camera

    Who the images are for, where they will run, what they have to prove. It usually takes one short conversation and it decides everything that follows.

  • 02 — A light plan, not an accident

    Reconnaissance or floor plan in advance, a preferred hour for the rooms that only look right once, and gear that fits in one case so a shoot never becomes an event of its own.

  • 03 — Selects you can trust

    A first edit quickly after the shoot — often within 24 hours for events — then a retouched set graded consistently, so twenty photographs look like one body of work.

  • 04 — Delivery that fits the channel

    Full resolution for print, web-optimised versions, portrait and square crops for social, and file naming your content system can actually read.

Chemical plant structures lit at dusk during an industrial photography commission

Blue moment

Some rooms only look right for eleven minutes

Industrial and architectural photography rarely forgives a flash. The plant that looks like a maintenance report at noon becomes the reason people are proud of their work at dusk — in the narrow window when ambient light and artificial light equalise.

So the schedule is built around it: safety induction in the afternoon, positions mapped while there is still daylight, and twenty minutes of serious concentration when the sky and the site finally agree.

  • Available light
  • No-flash site work
  • Safety induction
  • Blue hour scheduling

Practical questions

The three things clients ask before booking

  • Who owns the photographs?

    Rights stay with the photographer; usage is agreed per commission, in plain language, before the shoot, so there is no discussion months later when an image is needed in a campaign. Extended or unlimited use is always possible.

  • How quickly can we publish?

    Events and press-sensitive work get a first selection within 24 hours, sometimes the same evening. A fully retouched set normally lands within five working days, with an express track when a deadline is already set.

  • Can you work without stopping the day?

    Yes. Most corporate reportage is shot unobtrusively alongside the programme: no re-shooting the handshake, no herding people into rows. Teams get photographed and get back to work.

Commission a shoot

Dates, formats and how a job starts

Send the date, the location and where the images will be used. You get back a fixed quote, a shooting window and the delivery schedule — usually the same day.