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The studio

Five years in Dubai, and the same people every time

Most production is assembled per job — a photographer here, a retoucher found the week before delivery. That is why colour drifts between batches and why nobody can tell you on Monday what Friday looks like. We run the other way.

Who does the work

Two on set. The rest permanent behind them

Everything that has to happen in the room happens in Dubai, with us in it. Everything that doesn't runs with specialists we have worked with for years — not a crew reassembled per project.

In Dubai · on set

  • Photography
  • Videography
  • Set design
  • Producing

The two people you meet on shoot day carry all four. Nobody is introduced to your product for the first time on set.

Remote · permanent

  • Retouching ×2
  • Video editing

The same specialists on every project, for years. That is the whole reason the last frame of a collection matches the first.

The studio floor mid-shoot, with lighting rigged around a product table.

The kit

The room is rented. The equipment is not

The lighting, the props and the shooting stand are ours. They live at a partner studio in Dubai that we book by the hour, which means you are not paying rent on a hall that stands empty between projects.

It also means the gear that lit your first frame is the gear that lights your ninetieth — the same modifiers, the same stand, the same distances. Consistency across a long catalogue is a hardware problem before it is a retouching one.

Where the work happens

The product comes to us. When it can't, we go to it

Tabletop work belongs in a controlled room, so most of it happens in Dubai. But a store interior cannot be shipped, and neither can a location. For that we travel, and we have been doing it long enough that it is routine rather than an exception.

Start a project

On location

Giorgio Armani store interiors

  • United Arab Emirates
  • Saudi Arabia
  • Kuwait
  • Bahrain

Photographed on site, in the room, by the same person who shoots the product work.

Clients sit further out than the shoots do

Brands in the UAE, Saudi Arabia and Türkiye, and product that ships in from anywhere it can be posted. One client took frames made in this room and sold against them in the United States.

How a project runs

From the first message to the delivered files, without a handover

  1. 01

    Inquiry

    You tell us the category and the kind of shoot. We come back with a fixed quote and a budget the same working day.

  2. 02

    Pre-production

    Concept, references, set built for the idea rather than pulled off a shelf. Talent, props and scheduling handled here, not delegated back to you.

  3. 03

    Shoot

    A day for a compact set, weeks for a full catalogue. Lighting, styling and direction run by the two people who planned it.

  4. 04

    Post

    Retouching, colour grade, composites and effects — by our own retouchers, never outsourced to whoever is free that week.

One contract, one colour language, one invoice.

What we take on

The difficult end of the brief

Water, smoke, sand, flour, loose ingredients — anything that has to be caught rather than arranged. These are built on set and photographed as they happen, not assembled afterwards in post.

The same room also turns out hundreds of SKUs on white to one consistent standard. Both ends matter, and they are the reason a brand does not need two suppliers.

See both ends of the range
Behind the scenes: a set being lit and adjusted before the frame is taken.
A product caught mid-splash, liquid suspended around it.
A product standing in drifting powder under hard directional light.

Tell us what you're shooting

Two answers and we can quote properly. You get a fixed quote the same working day.

Start a project