THE FINISHED PHOTOGRAPH HOLDS ONE VIEW. A BEHIND-THE-SCENES FILM CAN STAY WITH EVERYTHING HAPPENING AROUND IT: THE PHOTOGRAPHER LOOKING, PEOPLE BESIDE A CAR, A MOMENT BEFORE THE IMAGE COMES TOGETHER.
FOR THIS PORSCHE SHOOT WITH BART KUYKENS, OUR CAMERA AND EDIT FOLLOWED THAT WIDER PICTURE. DAVID STACHURA DIRECTED THE FILM, WITH FLO AS THE AGENCY.
THE FINISHED PHOTOGRAPH HOLDS ONE VIEW. A BEHIND-THE-SCENES FILM CAN STAY WITH EVERYTHING HAPPENING AROUND IT: THE PHOTOGRAPHER LOOKING, PEOPLE BESIDE A CAR, A MOMENT BEFORE THE IMAGE COMES TOGETHER.
FOR THIS PORSCHE SHOOT WITH BART KUYKENS, OUR CAMERA AND EDIT FOLLOWED THAT WIDER PICTURE. DAVID STACHURA DIRECTED THE FILM, WITH FLO AS THE AGENCY.
STAY WITH WHAT HAPPENS AROUND THE IMAGE.
STAY WITH WHAT HAPPENS AROUND THE IMAGE.
THE IMAGES MOVE BETWEEN PEOPLE AND MACHINES. BART HOLDS THE CAMERA TO HIS EYE. A CAR WINDOW CATCHES A REFLECTION. A WIDER FRAME PLACES THE CARS BESIDE THE WATER.
POLISHED AUTOMOTIVE IMAGERY SITS ALONGSIDE RAW MOMENTS FROM THE DAY. THOSE CHANGES IN TEXTURE GIVE THE FILM ITS RANGE. THE CARS REMAIN A STRONG VISUAL PRESENCE, WHILE THE PEOPLE AND PROCESS GIVE THE SEQUENCE A SECOND LAYER.
THE IMAGES MOVE BETWEEN PEOPLE AND MACHINES. BART HOLDS THE CAMERA TO HIS EYE. A CAR WINDOW CATCHES A REFLECTION. A WIDER FRAME PLACES THE CARS BESIDE THE WATER.
POLISHED AUTOMOTIVE IMAGERY SITS ALONGSIDE RAW MOMENTS FROM THE DAY. THOSE CHANGES IN TEXTURE GIVE THE FILM ITS RANGE. THE CARS REMAIN A STRONG VISUAL PRESENCE, WHILE THE PEOPLE AND PROCESS GIVE THE SEQUENCE A SECOND LAYER.
OUR PART WAS TO BRING THOSE VIEWS TOGETHER THROUGH CAMERA AND EDIT. A CLEAN IMAGE CAN ESTABLISH THE CAR; A LESS GUARDED MOMENT CAN SHOW THE DAY UNFOLDING AROUND IT.
THE FINISHED PIECE HOLDS BOTH. IT STAYS CLOSE TO THE SHOOT AND LEAVES SPACE FOR THE MOMENTS THAT LIVE OUTSIDE THE MAIN PHOTOGRAPH.
OUR PART WAS TO BRING THOSE VIEWS TOGETHER THROUGH CAMERA AND EDIT. A CLEAN IMAGE CAN ESTABLISH THE CAR; A LESS GUARDED MOMENT CAN SHOW THE DAY UNFOLDING AROUND IT.
THE FINISHED PIECE HOLDS BOTH. IT STAYS CLOSE TO THE SHOOT AND LEAVES SPACE FOR THE MOMENTS THAT LIVE OUTSIDE THE MAIN PHOTOGRAPH.
CLIENT / FLO X PORSCHE. PHOTOGRAPHER / BART KUYKENS. DEINITE / CAMERA AND EDIT. DIRECTION AND CREATIVE PRODUCER / DAVID STACHURA. AGENCY / FLO.
CLIENT / FLO X PORSCHE. PHOTOGRAPHER / BART KUYKENS. DEINITE / CAMERA AND EDIT. DIRECTION AND CREATIVE PRODUCER / DAVID STACHURA. AGENCY / FLO.
THE FINISHED PHOTOGRAPH HOLDS ONE VIEW. A BEHIND-THE-SCENES FILM CAN STAY WITH EVERYTHING HAPPENING AROUND IT: THE PHOTOGRAPHER LOOKING, PEOPLE BESIDE A CAR, A MOMENT BEFORE THE IMAGE COMES TOGETHER.
FOR THIS PORSCHE SHOOT WITH BART KUYKENS, OUR CAMERA AND EDIT FOLLOWED THAT WIDER PICTURE. DAVID STACHURA DIRECTED THE FILM, WITH FLO AS THE AGENCY.
STAY WITH WHAT HAPPENS AROUND THE IMAGE.
THE IMAGES MOVE BETWEEN PEOPLE AND MACHINES. BART HOLDS THE CAMERA TO HIS EYE. A CAR WINDOW CATCHES A REFLECTION. A WIDER FRAME PLACES THE CARS BESIDE THE WATER.
POLISHED AUTOMOTIVE IMAGERY SITS ALONGSIDE RAW MOMENTS FROM THE DAY. THOSE CHANGES IN TEXTURE GIVE THE FILM ITS RANGE. THE CARS REMAIN A STRONG VISUAL PRESENCE, WHILE THE PEOPLE AND PROCESS GIVE THE SEQUENCE A SECOND LAYER.
OUR PART WAS TO BRING THOSE VIEWS TOGETHER THROUGH CAMERA AND EDIT. A CLEAN IMAGE CAN ESTABLISH THE CAR; A LESS GUARDED MOMENT CAN SHOW THE DAY UNFOLDING AROUND IT.
THE FINISHED PIECE HOLDS BOTH. IT STAYS CLOSE TO THE SHOOT AND LEAVES SPACE FOR THE MOMENTS THAT LIVE OUTSIDE THE MAIN PHOTOGRAPH.
CLIENT / FLO X PORSCHE. PHOTOGRAPHER / BART KUYKENS. DEINITE / CAMERA AND EDIT. DIRECTION AND CREATIVE PRODUCER / DAVID STACHURA. AGENCY / FLO.
