It is my job to put little frames to it. Fourteen years, three continents and one practice based in Amsterdam, working with the brands and publications that need pictures with the same quality of attention.
Brands, publications and
institutions. Fourteen years of practice.
A postcard arrived from Belize when I was a child. My father had written "there are many worlds in this world" on the back. The seed of curiosity was planted.
Fourteen years and three continents later, that same curiosity sits behind every brief. Every shoot. Every commercial campaign and every personal print. The world is a museum. My job is to put little frames to it.
Nine chapters. Choose a category on the left. Browse with the arrows or the keyboard. The full archive lives at the bottom.
Range is one thing. Depth is what most clients buy when they come back. Four projects, each chosen for what they teach about how I work.
A shou sugi ban specialist commissioned me in 2021. They have come back every year since. Portraiture of craftspeople, drone work on project sites, product photography for the trade press. The complete visual library their marketing now runs on.
A long‑form reportage on disappearing crafts, commissioned for print. Shot across three continents, edited into a 24‑page feature.
A complete library. Season campaigns. Programme print. All built around one visual language. Used across web, out‑of‑home and press releases.
Selected images from the long‑running personal series. Exhibited at the Carrousel du Louvre, the Monaco Yacht Show and the Museu Marítim de Barcelona. Featured multiple times on Vogue Italia.
Three voices from current and former clients. Edited for length, otherwise their own words.
Anahí is a fantastic photographer. We have been working together for four years now on Zwarthout / Shou Sugi Ban. She can photograph anything. From portraits, products to projects. Not to forget the beautiful drone images. I recommend Anahí without hesitation.
One of the greatest. I had the honour to work with her in the past, and saw a lot of potential then that is now flourishing. This is the photographer you want to grab before it is too late.
It is always wonderful to work with Anahí. She manages, again and again, to deliver a fantastic shoot. And of course, beautiful photography as the result.
Mexican-Dutch, based in Amsterdam, fourteen years into a photography practice that has taken me across Europe, Asia, the UK and North America. My background is in audiovisual narrative and communication, which is to say I think about a brief as a story first, an image second.
I have made pictures for LEGO, Adidas, LVMH, Norlah Textiles, Google Arts & Culture, Head & Shoulders, the Bernard van Leer Foundation, Gemeente Amsterdam, Taizé and many others. My personal work has been exhibited in Paris, Barcelona, Monaco, Los Angeles and Florence. Featured on Vogue Italia.
If you're considering a commission, the kindest thing you can do is write me a short note about what you're making. I write back personally, within two working days.
From the Carrousel du Louvre in Paris to a fifty-work solo exhibit in Driebergen. A short summary of the institutional record.
Travel the different worlds in this world, through Anahí's eyes.
Day rates, project quotes and licensing structured around the brief. The numbers below are placeholders. A precise quote follows the first conversation.
Multi‑day productions concepted, crewed and delivered as a complete image system for campaign, print and digital.
Magazines, long‑form features and editorial assignments. From single portraits to multi‑location reportage, delivered to publication standards.
Limited editions from my personal archive. Exhibited at the Carrousel du Louvre and acquired by private and corporate collectors.
Four steps. Predictable, transparent, finished on time. I run the production so you don't have to.
A short brief. What the project is, who it is for, when you need it. I reply personally within two working days with a thoughtful proposal.
A creative call to align on tone, references and treatment. You receive a written direction and a transparent budget before anything is booked.
Crew, locations, talent and styling, organised end to end. You receive a daily report and a curated edit within the agreed window.
Retouched, print‑ready files delivered with a clear license. An image bank is archived for future use. Long collaborations are a quiet specialty.
Signed and numbered prints from my personal archive. Archival pigment on Hahnemühle paper, hand finished, dispatched worldwide with insured shipping and a certificate of authenticity.
Notes, ongoing series and the things that happen between projects.
In 2012 I was living in Barcelona, working through a minor in audiovisual narrative.
For Vogue Academie in Amsterdam. Model: Curvalicious Diamond.
A reportage takes longer than people think. Here is what three continents looked like.
The same valley, two years apart. What changes, what stays the same.
What I learned working with the same brand across forty shoots.
Most projects start with a short note. Tell me what you are making, who it is for and roughly when you need it. You'll receive a thoughtful reply within two working days, with references, a transparent next step and a precise budget.
The questions that come up most often before a first conversation.
Most of my work falls into three categories: brand and campaign productions for agencies and in-house teams, editorial and reportage assignments for publications, and limited fine-art editions from my personal archive. I'm particularly drawn to projects that allow for depth over time, four-year client relationships are something of a specialty.
It depends on the project. Brand and campaign work is typically priced as a day rate with usage rights negotiated separately. Editorial assignments are usually quoted as a flat fee per assignment. Print editions are priced per work, with the size of the edition and the dimensions of the print as the main variables. I send a written direction and a transparent budget before anything is booked, so there are no surprises.
For straightforward editorial or single-day commissions, two to four weeks is usually comfortable. For multi-day campaigns with crew, locations and travel, four to eight weeks is more realistic. That said, urgent briefs are welcome, write to me and we'll find a way if the project is right.
Yes. I'm based in Amsterdam but work has taken me across Europe, Asia, the UK and North America. Travel within the EU is straightforward and usually quoted at cost. Further afield is also possible with appropriate lead time. Some of my best work has been shot far from home.
Standard delivery is a curated edit of fully retouched, print-ready files (300dpi) within the agreed timeline. You also receive a clear licensing agreement specifying where and for how long the images can be used. I archive an image bank for future use, which has proved useful for clients who come back season after season.
Licensing is always quoted transparently as part of the proposal. For most commercial projects we agree on a usage scope (territories, channels, duration) upfront. Extended or expanded use can be negotiated later if the project grows. I'm a member of DuPho, the Dutch Professional Photographer association, so all contracts follow the DuPho standard.