Commercial & Advertising Photography in Belgium
In a visual-driven market, your imagery is the first point of contact with your audience. Whether it is a signature restaurant dish, an artisanal product, or a curated brand identity, we create high-end, strategic visuals that capture the texture, communicate value, and stimulate conversion.
VIEW PORTFOLIOPackshot and Product Photography
Products on white for e-commerce and marketplaces. Thirty images that match each other, delivered in the dimensions your platform demands rather than cropped square and hoped for.
The value of packshot work is never in one image. It is in thirty that match — same distance, same angle, same white, same shadow. A catalogue where the product changes size between rows reads as amateur even when every individual file is technically correct, and the customer registers it without being able to name it. The framing template is built once at the start and applied to the entire set, which is why consistency can be promised in advance rather than hoped for at delivery. Marketplace specifications are the second half of the job and the half most often skipped. Every platform sets its own rules on background, margins, file weight and what proportion of the frame the product must fill. Files that miss them are rejected, and the rejection tends to arrive after the listing deadline, when there is no time to reshoot. Those requirements are checked against the target platform before anything is delivered. On artificial intelligence, the honest position rather than the defensive one: for simple objects on a white background, generated imagery is increasingly capable, and no price will hold that line. Two things still require a camera. If you already have images from an in-house shoot or a supplier, they can be brought to a single standard rather than reshot — see retouching. Clothing on a body or an invisible mannequin is a different setup and lives on the catalogue e-commerce page.
Thirty items sounds like a large budget. How is this priced?
Per item once you pass a volume threshold, not per day. The cost is therefore predictable before you ship anything and scales with your catalogue rather than with how long the work takes me. Splitting a range across two invoices by shooting bestsellers first is normal and costs nothing extra.
Our listing goes live in ten days. Is that realistic?
Usually yes — a set of around thirty items is one shooting day with delivery inside the week. The variable is not our calendar but when the products physically arrive. Tell us the listing date first and the schedule is planned backwards from it.
How do we know all thirty will actually match?
Ask any photographer for two files from the same past catalogue shot on different days, and compare the whites and the crops. It takes a minute and tells you more than a portfolio does, because a portfolio shows selected images and a catalogue is judged on its worst one.
Who prepares the products, and what if the platform rejects a file?
You send or drop off the items; basic preparation is included. Platform requirements are verified before delivery, so a rejection should not happen — and if a specification changes after delivery, the affected files are corrected rather than requoted.
AI can generate product images now. Why photograph at all?
For a plain object on white, that is a fair question and the answer is partly yes. It stops being true the moment the surface reflects, the material is transparent, or the customer measures the parcel against the picture. Generation also has to start somewhere — and that somewhere is a real photograph of your product.
Food and Restaurant Photography
Your dishes photographed where they are served, in the light of the room. For the menu, the website, delivery platforms and social media — the one category a generated image cannot stand in for.
Every other category on this page now competes with generated imagery. Food does not, and the reason is worth stating plainly: a guest choosing a restaurant is looking for evidence that this dish, in this room, actually looks like this. A generated plate is a promise the kitchen never made, and the gap between the promise and the plate arrives at the table where it does the most damage.
That is why the dishes are photographed in your restaurant rather than carried to a studio. The room, the tableware and the light of the place become part of the image, which is exactly what makes it recognisable when the guest walks in. A dish shot on a seamless white background could belong to any establishment in the city — that is a supplier's photograph, not yours.
Sessions are normally scheduled between services, so nothing closes and the kitchen can plate without a rush behind it. Your chef plates, because the dishes photographed have to be the dishes served. My part is the light and the sequence; the food is not styled into something the customer will not receive.
Coverage extends beyond the plates when it is useful: the room, the team, the façade. A seasonal arrangement covering the new dishes each quarter is the version that keeps a menu current without a full reshoot every time the card changes.
We are a small place. Does professional food photography pay for itself?
It is judged on one number: whether people choose you from a photograph before reading anything. If most of your covers come from the street, the return is thin. If they come from Google, Instagram or a delivery platform, the photograph is doing the work of your window display.
We change the card every season. Will the photographs be obsolete in three months?
The room, the team and the signature dishes are not. Only the seasonal plates turn over, which is why they are handled as a recurring quarterly set rather than paid for again as a full session each time.
How do we know the dishes will look like ours and not styled beyond recognition?
Because your chef plates them and nothing inedible goes near the set. Food styling that improves the photograph and betrays the plate is a short-term trade — the guest makes the comparison at the table and remembers the discrepancy, not the image.
Do we need to close, and who has to be there?
No closure. Sessions run between services and need the kitchen, not the front of house. Your part is a list of dishes in the order they should be plated; everything else is set up before the first plate leaves the pass.
Our supplier and the delivery platform already gave us images. Is that enough?
Those show a category, not your kitchen. Delivery platforms in particular reuse generic imagery across restaurants, which means your listing looks like the one above it. The included rights cover delivery platforms precisely so your own photographs can replace them.
Brand Content and Lifestyle Photography
Your product in a real setting — in use, in context, with people. Material for social media, campaigns and advertising rather than catalogue listings.
A packshot answers what the product is. Lifestyle answers who it is for and where it belongs, which is a different question and a different budget line — usually marketing rather than e-commerce. Most brands need both and confuse them, then wonder why a white-background image performs poorly as an advertisement.
This is where generated imagery sits in the middle rather than at either extreme, and it is worth being precise about it. AI builds a convincing scene around a product, but the product itself still has to be photographed live before anything can be constructed around it. The practical consequence for you is that the live session is the asset and the variations are cheap — an argument for shooting once properly rather than repeatedly and approximately.
The work is billed by the hour with a minimum rather than as a package, because it varies too much to package honestly. Three hours in a shop is a different job from three hours with a model and three set-ups. An hourly structure keeps that variation visible instead of hiding it behind a vague starting price that quietly assumes the simplest version.
Models, locations and props are arranged separately and billed at cost. Advertising use is a separate licence — organic social media is included, paid media is not, and that distinction is stated before the shoot rather than discovered when the campaign is booked.
An hourly rate makes the budget hard to approve. Can we get a fixed figure?
Yes — once the brief names the locations, the number of set-ups and whether people appear, the hours become predictable and the quote is fixed. The hourly structure exists so that a simple shoot is not priced as a complex one, not to leave the number open.
We need content for a campaign starting in three weeks.
A single session usually produces enough for several months of posting if the brief is narrow. What kills a content day is trying to cover three concepts at once — the output drops and none of them is finished.
How do we know the images will fit our brand rather than look generic?
Because the references are agreed before the day and the set-ups are written down. Send what you want it to resemble; we will say which parts are achievable in the planned hours. A photographer who cannot describe the output in advance is asking you to fund a discovery process.
Can we run these as paid advertising?
Under a separate advertising licence, yes. Organic social media is included as standard. Raise the campaign intention at briefing — retrofitting advertising rights after a shoot, particularly when people appear in frame, is where this goes wrong.
Our team already shoots content on a phone. Why commission this?
Keep doing it — phone content has a register that commissioned work cannot fake, and the two are not competitors. What a phone does not produce is a consistent set that holds up as a paid advertisement or a campaign key visual, which is a different job.
Beauty Photography for Cosmetics Brands
The result on skin, not the container on a shelf — colour verified against the physical product and finished to campaign standard.
For a cosmetics brand the deliverable is colour. If a shade photographs half a tone off, the image is unusable no matter how good it looks, and the failure is not aesthetic — it is a returned parcel and a complaint about the product itself. So colour-critical work is checked against the physical item during the session rather than approved on a screen afterwards, because two screens rarely agree and the product never changes its mind.
This is also the clearest answer on generated imagery anywhere on this page. A shade that is approximately right is not a stylistic preference, it is a refund. Whatever generation eventually handles in this category, the colour reference has to come from the actual product photographed under controlled light.
Beauty takes about as long to shoot as a portrait and several times as long to finish, and that is worth saying plainly rather than hiding behind the word premium. The image is examined at full size — skin, texture, the edge of a shade transition — and everything a portrait can leave alone has to survive that inspection. It is the heaviest finishing in the price list, which is why it cannot be priced like a session where two frames are cleaned up. Where a campaign needs finishing beyond that, it is quoted as high-end retouching.
Packshots of the containers are covered under product photography and are often shot in the same session — the two answer different questions and a launch usually needs both. Makeup artist and model are arranged separately and billed at cost.
Why does this cost more than a product session of the same length?
The finishing, and only the finishing. Shooting time is comparable; beauty images are viewed at full size and are colour-critical, which makes them several times longer to complete. A beauty quote priced like a packshot is either not doing that work or not costing it.
Our product launches next month. Does that fit?
Usually, provided the makeup artist and model are settled early — those two calendars are the constraint, not mine. Bring the launch date to the first conversation so the finishing window is planned backwards from it instead of compressed at the end.
How can we be sure the shade will be accurate?
Because it is checked against the physical product on the day. Send the actual item rather than a reference image or a hex value; a screen tells you what a screen thinks, and your customer is holding the product, not the screen.
Who provides the makeup artist and the model, and who approves the result?
They can be arranged or you bring your own; either way they are named on the quote and billed at cost. Approval should sit with one person on your side, decided before the day — beauty is the category where a committee reviewing skin retouching costs more time than the shoot did.
Our supplier already gave us product images. Do we need our own?
If they are packshots on white, yes. Those show the container; the image that sells a cosmetic shows what it does on skin, and that is the one a supplier almost never provides — nor can it, since it depends on the shade on a real face.
Amazon-Ready Product Photography
Built to marketplace specification, not adapted to it afterwards: main image on pure white at the required fill ratio, secondary angles, infographics legible on a phone. Files upload without coming back.
An ordinary product photograph and a marketplace-compliant one are not the same file. The main image has to sit on pure white with the product occupying a specified proportion of the frame; secondary images follow their own rules; infographic overlays have to stay legible at thumbnail size on a phone, which is where the listing is actually read. Producing this from a standard packshot set means reworking every file, which is why it is built as its own package rather than sold as an option.
Rejection is the risk worth pricing against. A file that misses the specification comes back after the listing deadline, and the cost is not the reshoot — it is the launch window. Requirements are verified against the target platform before delivery, and the platform is confirmed at briefing because the rules differ between marketplaces and change without announcement.
Infographics are the part most sellers underestimate. They carry the size, the material, the contents of the box and the one differentiator that would otherwise sit unread in the description. On a phone they are read in less time than a sentence takes, so they are designed for that size rather than shrunk into it.
Why does this cost more than a standard packshot of the same items?
Because it is not the same deliverable. Every file is produced against a written specification — fill ratio, background value, dimensions, weight — and infographics are designed on top. A standard set converted afterwards costs more in rework than doing it correctly once.
Our launch date is fixed. What happens if a file is rejected?
Specifications are checked before delivery precisely so that does not happen. If a platform changes a rule after delivery, the affected files are corrected rather than requoted — the launch window is the thing being protected here, not the invoice.
How do we know the files will actually pass?
Because compliance is a checklist, not a judgement. Ask for the specification the set was built against; if a photographer cannot produce one, the files were shot to taste and checked by eye, which is how rejections happen.
We sell on several marketplaces. Does one set cover all of them?
Not automatically — rules differ, particularly on fill ratio and secondary images. Name every platform at briefing and the set is built to the strictest one, with variants where a platform is genuinely incompatible. Retrofitting a second marketplace later is the avoidable expense here.
Our current listings sell fine. Why change the images?
Then change nothing globally. Reshoot the two or three listings where traffic arrives but conversion does not — that gap is usually the main image, and it is measurable within a fortnight rather than argued about.
Our Workflow: Streamlined Efficiency Without Sacrificing Quality
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Brief & Concept
We start with a short brief covering the products, the platform or menu requirements, and the visual style you're after — clean packshot, lifestyle, or food on the table. This sets the shot list, lighting and colour approach before the shoot day, so nothing is improvised on set.
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The Shooting Process
The shoot takes place in the studio or on-site (restaurant, cafe, boutique). Utilizing professional, high-end strobe and modified natural light, I precisely control focus, shadows, and reflections to make the food or product look lively, premium, and appetizing.
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Post-Production
High-end editing and meticulous retouching. This includes professional color grading, contrast adjustment, cleaning up minor blemishes, and formatting files for seamless integration into your platforms (Shopify, Amazon, print, or social media).
Packshot and product, food and restaurant, marketplace-ready sets, brand content and beauty. Every file is checked against the platform before it reaches you, not after a rejection. Tell us how many items and which platform: fixed quote the same day, specification included.
Menu and Delivery Photography
Dishes on a clean background, delivered in the dimensions each platform actually requires. Uber Eats and Deliveroo do not accept the same file — the set is prepared for both, and for the printed card.
This is a different job from photographing your dining room, and confusing the two is what produces a listing that underperforms a competitor with worse food. In the room, the photograph sells an evening. On a delivery platform it competes inside a scrolling grid of thumbnails on a phone, where the dish has roughly one second to be identified. What reads there is a clean background, a single item, and the food large in the frame — the same discipline as a product catalogue, applied to a plate that only looks its best for a few minutes.
The specifications are not a formality, and they differ between platforms. Uber Eats requires a single item per image, an aspect ratio between 5:4 and 6:4, and rejects photographs depicting people — hands excepted — along with any text or watermark. Deliveroo’s menu documentation specifies 1920 by 1080 pixels at 16:9. One file cannot satisfy both, which is why framing leaves room at the edges on the shoot day and each platform gets its own export rather than a crop improvised later. Rejections arrive after the listing deadline, when there is no time to cook the dishes again.
Your kitchen plates, as it does for the room session — the photograph has to match what arrives in the bag, and the guest makes that comparison at their kitchen table rather than in your restaurant. This is also the reason generated imagery has no place in a delivery listing: the platform requires the image to represent the item actually sold, and the discrepancy surfaces at the moment of delivery, attached to a refund request.
The printed card is the same shoot with a different output: the files are prepared at print resolution alongside the platform exports, so a menu redesign later does not require the kitchen to plate everything a second time.
We already photographed our dishes in the dining room. Why shoot them again on white?
Because the platform crops your photograph into a small square next to forty others. A dish shot on a wooden table in warm evening light looks like a restaurant scene at full size and like a brown rectangle at thumbnail size. The two sets do different work and both are worth having — the room images sell the visit, these sell the order.
How many dishes fit into one session?
Twenty in the standard set, which is where most delivery menus sit once the duplicates and the drinks are counted. The limiting factor is your kitchen’s pace rather than the camera: each plate is photographed as it leaves the pass.
A platform rejected the photographs we already have. Can those be fixed?
Sometimes. Rejections for dimensions, file weight or format are corrected from your existing files without a reshoot. Rejections for content — several dishes in one frame, people, text burnt into the image — cannot be, because the required photograph was never taken. Send the rejection notice and it will be clear within the day which case you are in.
How is this different from packshot photography?
Technically it is the same discipline: consistent framing, controlled background, files built to a platform specification. The difference is that a product waits and a plate does not, so the sequence is planned around the kitchen and each dish is lit as it arrives rather than adjusted for an hour.
We need images for the printed card as well. One shoot or two?
One. The printed card and the delivery listing use the same photographs at different resolutions and crops, and both outputs are prepared from the same session.
Show It the Way It Deserves
Your brand deserves to be seen in the best light. You've invested months of hard work and passion into creating your perfect product, menu, or culinary concept. It's time for visuals that match that perfection. From a targeted product feature to full-scale commercial advertising campaign production, I am ready to bring your vision to life. Don't settle for less. Contact me to let your efforts shine at full power!