Professional Portraits & Personal Branding in Belgium
Corporate portraits, LinkedIn headshots and personal branding for consultants, executives and experts in Brussels and across Belgium.
VIEW PORTFOLIOPersonal Branding for Consultants and Independents
One session planned backwards from every place your image has to work — profile, website header, proposal, conference slide. Shot in a single sitting, so it is the same person on the same day.
When you are the business, your face is the product page. A consultant, a coach, an independent lawyer or an architect is chosen from a screen long before the first call, and the photograph does the arguing while you are not in the room. That is not decoration — it is the first evidence a prospect has about whether you operate at the level you claim.
What most independents actually need is the same face in four or five different shapes: a tight crop for a profile, something horizontal for a website header, a wider frame a conference organiser can cut into, a version that holds up on a book cover or a course page. Booked separately, that is four sessions and four fees. Planned into one sitting, it is one — and every image looks like the same person, which is the part that fails when portraits accumulate over four years.
So the session is built from a list rather than from a mood. Before the date you name two or three places the images have to appear, and the framing, the wardrobe note and the delivery formats follow from that list. It is not a portrait session with a nice result; it is planned backwards from where the images will live.
Usage rights are included without a time limit, which matters more for an independent than for a company: nobody should have to check a licence before putting their own face on their own website.
This is my own money. Can I not just use a good phone photograph?
You can, and for some businesses it is the right call — if your clients arrive through referral and never check a profile first, the return is thin. If prospects find you on a screen and decide there whether to reply, the photograph is doing sales work, and that is a different calculation from buying yourself a nice picture.
I need one for a proposal next week.
A single session covers it, and a first selection is available for approval quickly so you can use something before the full retouching is finished. Say what the deadline is at the first message — it changes the order of delivery, not the price.
I photograph badly and I never know what to do with my hands.
Almost everyone says this, and it is a posing problem rather than a face problem. You are not expected to know what to do — that is the job you are paying for. The session is directed step by step, you see frames on screen as we go, and nothing is finalised that you have not looked at.
Who do I invoice this to, and can my company deduct it?
The invoice goes to you personally or to your own company, whichever you prefer — say which at booking. Whether it is deductible depends on your status and your accountant, not on us, but the invoice is issued in a form that lets you ask the question properly.
My current photograph is a few years old but people still recognise me.
Then the question is not recognition but alignment. If the photograph predates your current positioning — a new specialism, a different market, a higher fee — it is quietly arguing for the previous version of your business. That is the real cost, and it is invisible because nobody tells you.
LinkedIn Portraits for Individuals
Sharp, current and recognisable at the size it is actually seen — booked directly, without waiting for your employer to organise a company session.
A LinkedIn photograph is looked at for about a second, usually next to six other people's in a search result. It does not need to be artistic and it should not be ambitious. It needs to be sharp, current, and to look like the person who will actually walk into the meeting — which is a narrower requirement than most portrait photography aims at, and a more useful one.
The technical part is unglamorous and it is where most profile pictures fail: a neutral background that does not compete, the crop the platform actually uses rather than a square cut from a larger frame, and a version that still reads when reduced to the size of a fingernail. Files come back ready for a profile, a CV and an internal directory without you resizing anything.
Retouching stays deliberately restrained. The person arriving at the meeting should be recognisably the person in the photograph — a portrait that flatters beyond recognition creates a small disappointment at exactly the moment you want the opposite.
Booked directly and invoiced to you or to your own company. No HR process, no waiting for a company-wide session, and no explaining to anyone why you want a current photograph. If you are organising this for a team rather than yourself, that is corporate photography — including a mobile studio set up in your office.
Is a professional profile photograph worth paying for myself?
It is the one image a recruiter or a prospect sees before deciding whether to reply, and it works while you are asleep. Whether that justifies the spend is your call — but it is the cheapest part of your professional presence to fix, and the only part that does not need maintaining afterwards.
How quickly can I have it?
A first selection to approve quickly, final files shortly after, in the formats each platform needs. If you have an interview or a deadline, say so at booking and the sequence is arranged around it.
What if I do not like any of them?
You choose your own frame on the screen during the session, before we finish. Nobody leaves with a portrait they have not approved — and if nothing is working halfway through, that is a signal to change the setup while you are still there, not afterwards.
Can I put this on the invoice for my own company?
Yes — the invoice can be issued to you personally or to your company, decided at booking. That is the practical difference from the version an employer books: nobody else has to approve it, and nobody else owns the files.
My employer is organising a session in a few months.
Then wait, if the timing suits you — it is the same product and it will be consistent with your colleagues. Book your own if you need it before then, or if you want a photograph that stays yours when you change jobs. Both are legitimate; they are different reasons.
Speaker and Press Kit Portraits
The same session, delivered for people who will never contact you before publishing — horizontal with space for text, square, and full resolution for print.
Conference organisers, podcast producers and journalists all ask for the same thing and all need it in a different shape. A horizontal frame with deliberate empty space where a title will be laid over it. A square crop for a programme grid. A file at print resolution. A neutral version that works whether the organiser's brand is dark or light.
A press kit is therefore not a different session — it is the same ninety minutes with the delivery planned for a specific problem: the person who will crop your photograph has never seen the original and will not write to ask. If the only file you have is a tight profile picture, they will cut it further, and how you appear on someone else's site stops being your decision.
What this replaces is the twenty minutes of improvisation when a request arrives at four in the afternoon with a deadline of six. Having the set already means sending a link instead of apologising for the file you have.
Companies commission the same thing for their spokespeople and press offices — that version is on the corporate page, at the same price, with the same session behind it.
Is this a separate session with its own price?
No. It is the personal branding session with the delivery planned differently. Naming the press use at booking changes what is shot and what is prepared afterwards, not what it costs.
What exactly is in the set?
Vertical and horizontal versions, a frame with deliberate space for overlaid text, a square crop, a neutral background option, and print-resolution files. The point is coverage of every request you might receive rather than one strong image.
Can I send these to media without asking you each time?
Yes. Press and editorial use is included in writing. This is worth confirming with any photographer before booking — it is the clause that most often causes trouble later.
Expert and Author Portraits
For a book jacket, a column, a course page or a quote in the press — a portrait that carries authority rather than friendliness, and survives being cropped by someone else's layout.
An author portrait has one requirement a corporate headshot does not: it has to survive being placed next to your own words. A photograph that looks like a company directory entry undercuts a byline — it says employee where the text says authority. A portrait made for a byline, on the other hand, works perfectly well on a company page, which is why this direction costs nothing extra to choose.
In practice the difference is small and specific: slightly more contrast, a considered background rather than a neutral one, and framing with enough room that a designer cropping into it does not cut you at the chin. None of that requires a different session. It requires knowing before the session that this is where the image is going.
This is the same ninety minutes as a personal branding session, with a different selection at delivery. Booking it as a separate service would mean charging twice for one sitting, which is the kind of thing that is invisible at the time and obvious when the price list is read end to end.
If you also speak at events or receive press requests, name that too — the two deliveries overlap almost completely and are worth preparing together.
Does this cost more than a standard professional portrait?
No. Same session, same price — the difference is which frames are selected and how they are prepared. Say at booking that the image is for a byline or a cover, because that is what changes the framing.
My publisher has technical requirements. Can they be met?
Send them before the session rather than after. Resolution, orientation and colour profile are all decided at capture; retrofitting a publisher's specification from an existing file is where quality is lost.
Can the same photographs work for my company profile too?
Yes, and that is the useful asymmetry: a portrait built for a byline works on a company page, while a company headshot rarely works on a book jacket. If you need both, this is the direction to shoot.
When to Update Your Professional Portrait
A change of role, a new positioning, a visible change in how you look — or simply a photograph that is older than the business it represents.
The usual trigger is a change of job, but the useful rule is simpler: if the photograph predates your current role, it is working against that role. Two years is the practical limit — not because of fashion, but because a prospect who meets you after seeing it registers the gap, and that registration happens before you have said anything.
The most common reason people actually book is none of the standard ones. Somebody else published a photograph of them — a conference organiser, a colleague, an event page — and they did not like it. That is a reasonable trigger. It usually means the only images in circulation are ones you did not choose.
There is a second reason that did not exist three years ago, and it runs opposite to what most people assume. As AI-generated portraits have spread, recruiters and clients have grown noticeably more wary of images that look synthetic — too smooth, too even, too obviously optimised. A real, current photograph has quietly become a signal in itself, which means heavy retouching now costs you something it did not cost before.
If none of this applies and your photograph still looks like you on a normal working day, it is doing its job. This is one of the few purchases where the honest answer is often to wait.
How often should a professional portrait be replaced?
Every two to three years is the practical rhythm, but the calendar is the weaker signal. The real triggers are a change of role, a change of positioning, or a visible change in how you look — any one of those matters more than how long it has been.
Can we reuse the same session for a new photograph later?
No, and that is worth being clear about. What can be reused is the setup: the lighting, framing and treatment are recorded, so a later session matches the earlier one instead of looking like a different person on a different day.
Does a heavily retouched photograph age better?
The opposite, and this changed recently. As AI-generated portraits spread, an image that looks too smooth reads as synthetic, and recruiters and clients have grown wary of it. Restrained retouching now lasts longer than polished retouching does.
Our Workflow: Streamlined Efficiency Without Sacrificing Quality
-
Pre-Production
Before we even pick up the camera, we define the vision of the project. Moodboarding (setting the tone, style, color palette, and overall vibe), location scouting (choosing the ideal environment for the shoots in Belgium or abroad), and team setup (recommending the best local makeup artists and stylists if necessary).
-
Shooting
A lookbook and catalog require not just posing, but acting. I actively work with models to produce authentic facial expressions and kinetic movement. I combine natural light with professional studio equipment to create images that look high-end, editorial, and effortless.
-
Post-Production
Lookbook and beauty retouching include custom cinematic color grading and magazine-quality high-end skin and fabric processing. For catalogs, we provide quick color correction, basic natural retouching, and cropping/resizing tailored to your platforms. Fast turnaround times are guaranteed.
Personal branding for consultants and independents, LinkedIn portraits,
speaker and press kits, author portraits — one session planned backwards
from every place the image has to work, with rights that have no time limit.
Tell us two or three of those places: the session is planned and a slot
confirmed the same day. We also cover conferences and corporate events.
Your Portrait Works As Hard As You Do
Before the first conversation, a consultant, executive, or expert has already been judged on their image. The question isn't whether a new photo can wait — it's how much longer yours will work against you. One ninety-minute session covers LinkedIn, press kit, book jacket, and pitch deck — the same files, good for as long as your role stays the same. Tell me where your portraits need to appear — the rest gets sorted in a ten-minute conversation.