Watchmaking Photography Case Studies | Ivan Simeon Studio Geneva

Case Studies

A photograph is the visible outcome of a process. What precedes it (the analysis of a brand's visual language, the diagnosis of what an image must argue, the compositional decisions made before any shutter is pressed) determines whether the result is documentation or strategy.

Ivan Simeon Studio documents selected mandates in the form of Case Studies: a rigorous examination of the brief, the methodology, and the outcomes. Each case study demonstrates how photography, when approached as a strategic discipline, becomes a tool for building and communicating brand identity at the highest level.

These are not portfolio pieces. They are evidence of a way of working.

Below are a few examples.

As a Professionnal Photographer and Art Director based in Geneva, I provide coverage for projects all of Switzerland. For information and bookings, please send a mail to info@mysimeon.ch or send a WhatsApp message on following number +41 79 672 49 28.

The Horloge Fleurie flower clock in Geneva’s Jardin Anglais on World Watch Day, 10 October 2026, with a red car in motion blur passing in front of the dial and visitors gathered around it. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Time Measured, Time Lived. Photographing the Geneva Flower Clock on World Watch Day 2026 (picture above)

How do you photograph time itself, on the one day the world dedicates to it?

On 10 October 2026, World Watch Day, Geneva photographer and art director Ivan Simeon photographed the Horloge Fleurie, the flower clock of the Jardin Anglais, using a handheld shutter speed of 1/20 of a second to contrast the stillness of the clock with the motion of passing traffic. Ivan Simeon Studio is a Geneva based press and corporate photography studio specialising in watchmaking and luxury since 2008. This Case Study documents how its compositional methodology was applied to one of Geneva’s most visited landmarks, under entirely uncontrolled conditions.

Context

World Watch Day was launched in 2025 by a non profit association bringing together leading institutions of the watch world, including the Fondation de la Haute Horlogerie, the Grand Prix d’Horlogerie de Genève, The Watch Library Foundation, the Horological Society of New York and Europa Star. It takes place every year on 10 October, echoing the 10:10 position of hands on watch dials. On the morning of its second edition, Ivan Simeon turned his lens to the Horloge Fleurie, a short walk from the watch boutiques of the rue du Rhône. The challenge was clear: to produce an image that says something new about one of the most photographed monuments in Geneva, with live traffic, moving crowds and natural light. The hands were not showing 10:10, and the image does not pretend otherwise.

Concept & Research: What Makes a Press Photograph a Visual Argument?

The compositional analysis conducted by Ivan Simeon identified several active forces within the frame. The rule of thirds provided the structural foundation. A triangle formed by the arms of Katherine Mack and Dominique Renaud generates a visual tension that echoes the complexity of their two disciplines: the infinitely small of mechanical watchmaking, the infinitely large of cosmology. The architectural lines of the background, slightly oblique, draw the eye toward the movement being regulated and toward Katie's face. An articulated lamp reinforces this directional logic. The colour palette works in neutrals, browns and blues, held in tension by a deliberate touch of red in the background. This is the Déconstruction Visuelle framework, developed by Ivan Simeon Studio across multiple mandates in Swiss watchmaking photography: a rigorous pre-shoot analysis of compositional forces, chromatic tensions, and spatial hierarchies before any shutter is pressed.

Concept & Research: What Makes a Landmark a Visual Argument?

The compositional analysis identified several active forces within the frame. The image is built on four horizontal strata: the sky, the crown of trees, the band of the clock and its visitors, and the road in the foreground. This layering gives the frame an almost architectural calm, which the passing traffic then deliberately disturbs. The colour palette rests on the primary triad: the blue of the sky, the red of the car and the floral dial, the yellow of the flowers. The red of the passing car rhymes with the red of the dial, creating a visual link between the subject and the element that interrupts it, while the green lawn, complementary to red, intensifies the whole. The masses are balanced by a quiet counterpoint: on the left, a single man contemplates the clock; on the right, a compact group gathers around it. The individual and the crowd, the private and the shared experience of time. In the upper left, the sign of La Potinière and its “We are open” anchor the scene in a real place and add a note of unintended irony. This analysis applies the Déconstruction Visuelle framework, developed by Ivan Simeon Studio across multiple mandates in Swiss watchmaking photography.

Methodology: Motion as a Measure of Time

Formal composition is only half the work. The other half is the story the image tells about time. Here, the method rests on a simple separation: everything that stays still is sharp, everything that passes is blurred. The clock, the trees, the pavilion and the pedestrians hold their ground; the two cars dissolve into motion. Achieving this balance required precise calibration. Too much blur, and the cars lose their form; too little, and the motion disappears. After several test frames, Ivan Simeon observed that on this particular stretch of road, the traffic always moves at roughly the same speed. Based on this observation, he settled on a shutter speed of 1/20 of a second, shooting handheld without a tripod and holding his breath to keep the clock, the trees and the pedestrians perfectly sharp. One detail carries the whole idea. The red car conceals the lower half of the dial, around the VI and the VII. Time is literally half erased by what passes in front of it. No staging could have produced this alignment; it required patience, anticipation and a single precise moment.

Results: What a Landmark Photograph Can Argue

The eye enters the frame through the red car, the most saturated area of the image, rises to the dial through the echo of red, then moves toward the crowd on the right. In a few seconds, the viewer travels from speed to stillness, from the street to the monument. The resulting image functions simultaneously as documentation of World Watch Day 2026 and as a visual statement on the two faces of time: the time watchmaking measures, and the time we spend rushing past it. For brands and institutions in the Swiss watchmaking and luxury sector, this case study shows that even the most familiar landmark can become a strategic visual asset when approached with compositional intent, an image that retains its value across editorial, institutional and digital contexts.

What is the Déconstruction Visuelle framework?

Déconstruction Visuelle is a compositional analysis method developed by Geneva photographer Ivan Simeon. Before or during a shoot, it maps the active forces of a scene: structural lines and strata, chromatic tensions, the balance of masses and the path of the viewer’s eye. The goal is to turn a photograph into a visual argument rather than a simple record.

What does motion add to watchmaking photography?

In watchmaking, time is usually shown frozen: a dial, a movement, the hands at 10:10. Introducing motion into the frame allows a photograph to show time not as a figure on a dial but as an experience. The contrast between what moves and what stays still becomes the subject itself.

Photographer & Art Director: Ivan Simeon, Ivan Simeon Studio, Geneva
Client: Studio Project
Subjects: The Horloge Fleurie (Geneva Flower Clock), Jardin Anglais
Event: World Watch Day 2026, Geneva, Switzerland 10 October 2026
Technique: Editorial photography, Déconstruction Visuelle framework, handheld slow shutter at 1/20 s

Astrophysicist Katherine J. Mack regulating a watch movement during the COSC CaliberShip Challenge at Geneva Watch Days 2026, observed by watchmaker Dominique Renaud. Press photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Unconscious Creativity and Compositional Intent in Press Photography (picture above)

How do you build an image with intention when every condition is beyond your control?

This is the central question that defines press photography at the highest level. This Case Study documents how Ivan Simeon Studio, a Geneva-based press and corporate photography studio specialising in watchmaking and luxury, applied a structured methodology to produce a multi-layered image under live conditions at Geneva Watch Days 2026.

Context

During Geneva Watch Days 2026, Ivan Simeon Studio was mandated by the Fondation Dominique Renaud to cover the Amplitude Op. II colloquium. The unexpected compositional opportunity arose when astrophysicist and cosmologist Katherine J. Mack, invited speaker at the colloquium, participated in the CaliberShip Challenge organised by the Contrôle Officiel Suisse des Chronomètres (COSC) during the same week. When watchmaker and Fondation founder Dominique Renaud stopped by to observe her at work, the image presented itself. The challenge was to build it under live press conditions, without direction, without controlled lighting, and without a second chance.

Concept & Research: What Makes a Press Photograph a Visual Argument?

Methodology: Unconscious Creativity as a Photographic Tool

Formal composition is only half the work. The other half is emotion. In press photography, emotion cannot be staged. This is where a concept developed by Ivan Simeon over several years of practice becomes operational: unconscious creativity. The principle is simple. When someone calls you on the phone, you cannot see them, but you know immediately whether they are smiling or not. The voice carries the emotion without effort or instruction. Applied behind the camera, this principle produces a measurable effect. Smiling while shooting influences what happens in front of the lens, without a single word of direction. At Geneva Watch Days 2026, Dominique Renaud, positioned in the background, reflected this naturally by smiling himself. The result is an emotion that could not have been produced through instruction alone. This methodology addresses one of the core challenges of press photography in the watchmaking and luxury sector: how to produce images that feel authentic rather than constructed, human rather than institutional, in environments where spontaneity is the only available raw material.

Results: What a Press Photograph Can Argue

The image produced at Geneva Watch Days 2026 functions simultaneously as press documentation and as a visual statement about the relationship between two ways of measuring time: mechanical precision and cosmological scale. To preserve authenticity, it was produced with less than no artificial lighting, without direction of the subjects, and without post-production reconstruction. For brands and institutions operating in the Swiss watchmaking and luxury sector, this case study demonstrates that press photography, when approached as a strategic discipline, produces assets that extend beyond the immediate press cycle. An image built on compositional logic and authentic emotion retains its value across editorial, institutional, and digital contexts.

What is unconscious creativity in photography?

Unconscious creativity, as developed by Ivan Simeon Studio, is a methodology that uses the photographer's own emotional state as an active compositional tool. Rather than directing subjects verbally, the photographer generates an emotional environment that subjects respond to instinctively. The result is authenticity that cannot be fabricated in post-production.

Photographer & Art Director: Ivan Simeon, Ivan Simeon Studio, Geneva
Client: Fondation Dominique Renaud
Subjects: Katherine J. Mack, astrophysicist and cosmologist; Dominique Renaud, independent watchmaker
Event: Geneva Watch Days 2026, Geneva, Switzerland
Technique: Press photography, Déconstruction Visuelle framework, unconscious creativity methodology

Case Study: Portrait as Visual Argument

CONTEXT

In watchmaking communication, the CEO portrait follows a predictable logic: a dark suit, a confident posture, the watch visible at the wrist. The image signals authority. It does not create meaning. For a brand whose entire identity rests on refusing convention, this approach represents a missed opportunity: the most unconventional watches in the sector, presented through the most interchangeable portraits possible.

This Case Study documents a portrait mandate for DOXA Watches, developed as a research exercise into what happens when the portrait is treated not as documentation but as visual argument.

CONCEPT & RESEARCH

The starting point was not lighting or styling. It was a question: what does a DOXA client look like? Not demographically, but attitudinally. The answer, consistent across the brand's history, is someone who buys against the grain. In 1967, when every competitor was producing black dials, DOXA tested colour visibility underwater in Lake Neuchâtel and launched orange. Not as a provocation. As a conviction.

That same logic was applied to the portrait brief. The Déconstruction Visuelle framework, developed across multiple mandates, provided the analytical structure: before any image is made, the compositional forces at work in a location are mapped. Where does depth exist? What chromatic tensions are available? What does the space already argue, visually, before a subject enters it?

For the location at the Quai Président Wilson in Geneva, the analysis identified four active elements: the vertical axis of the Jet d'eau as a column of force, the luminous depth of Lac Léman as a second plane, the first-person foreground of the quai as an anchor, and the salmon blazer as a deliberate chromatic rupture against the dominant blue palette of the sector. The off-frame gaze, a reference to the pictorial tension Edward Hopper introduced into American realism, removes the subject from the frame's authority and places him in relation to something beyond it.

DEVELOPMENT & METHODOLOGY

The post-production approach was developed to serve the compositional logic rather than correct it. A specific retouching language was constructed for this series: one that treats colour as an active compositional element rather than a technical variable, and contrast as a tool for creating hierarchy rather than drama.

The workflow applied consistently across the full series of fifteen images separated tonal work from colour work, treating each image as a specific lighting problem rather than a generic correction task. Lifted blacks, split toning with cold shadows and warm highlights, selective desaturation of skin tones, and a global warm veil at low opacity produced a visual signature that holds across radically different locations and lighting conditions: a strobe-lit interior, a natural-light exterior, a grand staircase under ambient warmth.

Two images in the series were developed in black and white, applying the same retouching logic to a mirror composition with a crystal chandelier and a marquetry commode. The monochrome treatment was not a stylistic choice imposed from outside; it emerged from the compositional logic of each location, where the graphic complexity of the environment made colour a distraction from structure.

RESULTS

The series produced imagery that functions simultaneously as corporate portrait and editorial content. The image at the Quai Président Wilson, CEO in salmon blazer, Jet d'eau, DOXA SUB 300T visible at the wrist, operates as a visual statement about the brand's relationship to convention: Geneva as backdrop, but the gaze directed elsewhere.

The deeper outcome is methodological. When a portrait is constructed from compositional analysis rather than stylistic convention, it carries an argument. It can be read, not just seen. That distinction is the boundary between portrait photography and visual consulting.

Photographer & Art Director: Ivan Simeon
Location: Geneva, Switzerland

Portrait of the DOXA Watches CEO in a salmon blazer on the Quai Président Wilson in Geneva, the Jet d’eau behind him and a DOXA SUB 300T at his wrist. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Chiaroscuro as Visual Strategy

CONTEXT

In watchmaking and jewelry photography, light is rarely treated as a narrative tool. It is treated as a technical requirement. The result is a visual landscape dominated by cold, neutral setups designed to document rather than interpret. For maisons whose entire value proposition rests on singularity, this approach represents a fundamental contradiction: the most distinctive objects in the world, photographed in the most interchangeable way possible.

This Case Study documents an ongoing research process into the application of Chiaroscuro as a strategic photographic framework, developed across multiple mandates with Swiss and Italian maisons including Bulgari and Ulysse Nardin.

CONCEPT & RESEARCH

The inspiration is rooted in the classical tradition of European painting. Caravaggio established the foundational principle: darkness is not absence, it is structure. It gives form its weight and light its meaning. Rembrandt extended this into the realm of warmth and intimacy, using directional golden light to sculpt volumes from obscurity rather than illuminate them uniformly.

The research question was straightforward: how does this principle translate into contemporary watchmaking photography, across boutique architecture, portrait, and press contexts? And more specifically, what is lost when it is ignored?

The answer, observed consistently across years of mandates, is tension. Without shadow, there is no contrast. Without contrast, there is no hierarchy. Without hierarchy, the eye has nowhere to go. An exceptional object, rendered in flat, shadowless light, becomes interchangeable with any other.

DEVELOPMENT & METHODOLOGY

The methodology developed across these mandates rests on a single discipline: reading existing light before creating new light. Rather than imposing a studio setup onto a location, the approach begins with an analysis of what the space already does photographically. Where does light concentrate? Where does shadow create depth? What does the architecture reveal at night that it conceals during the day?

A significant part of this research was conducted in controlled studio conditions. Working systematically with models, stylists, jewelry designers, and assistants, the studio developed a rigorous practice of constructing Chiaroscuro atmospheres from scratch, starting from a neutral white background and building darkness through precise, deliberate light placement. This foundational work, demanding in both time and collaboration, was never an end in itself. It was a laboratory: a space to understand exactly how shadow behaves, how it interacts with skin, fabric, and metal, and how far it can be pushed before it ceases to serve the subject. The conclusions drawn from this studio practice directly informed the approach taken in client mandates.

In the field, this means working at unconventional hours, adapting to conditions rather than controlling them, and making precise, minimal interventions to amplify what already exists. For the Bulgari boutique in Lucerne, photographed at night, a single intervention was made: the pavement in front of the window was wet down to intensify the reflections of the interior light onto the cobblestones. No artificial lighting was added. The image was already there. It required only the conditions to reveal it.

For portrait work, the same logic applies. Shadow is not cleaned away in post-production. It is used to define the subject, direct attention, and create the sense that something exists beyond the frame.

For architectural press photography at watch salons, the approach moves beyond pure documentation toward a cinematic reading of the space: understanding how a maison has staged its identity in three dimensions, and translating that into a two-dimensional image that carries the same intentionality.

RESULTS

Across mandates with maisons including Bulgari and Ulysse Nardin, this approach has consistently produced imagery that functions beyond the immediate press cycle. Images conceived with a Chiaroscuro framework retain visual impact across formats and contexts, from editorial placement to brand communication, because they are built on compositional logic rather than technical convention.

The deeper result is strategic. When a photographer reads light rather than simply producing it, the relationship with the maison shifts. The work becomes a contribution to visual identity, not a documentation of it. That is the distinction between press photography and strategic visual consulting.

This research is ongoing, with current application in the context of Watches & Wonders Geneva 2026.

Photographer & Art Director: Ivan Simeon
Location: Geneva, Switzerland

The Bulgari boutique in Lucerne photographed at night, its interior light reflected on wet cobblestones, without artificial lighting. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Visual Innovation & Cinema: Leveraging Sci-Fi Heritage for High-End Watchmaking

CONTEXT

In a rapidly evolving watchmaking sector, visual innovation has become a strategic imperative. During regular mandates at Palexpo Geneva for major events such as Watches & Wonders or Art Geneva, the challenge lies in moving beyond mere documentation to offer a powerful visual narrative. This project is part of a continuous research and experimentation process aimed at redefining the codes of institutional imagery.

CONCEPT & RESEARCH

The inspiration for this Case Study is rooted in 20th-century cinematic aesthetics. The objective was to integrate visual codes from two pillars of science fiction:

Metropolis (Fritz Lang, 1927) for its architectural structure and industrial contrast.
Blade Runner (Ridley Scott, 1982) for its atmospheric management and directional lighting.

DEVELOPMENT & METHODOLOGY

The technical process focused on identifying specific camera angles to enhance storytelling, while experimenting with luminosity, color and the texture of various image segments. Rather than merely accepting the location's structure, the studio chose to scenarize it:

Industrial Sky: The transformation of the metallic ceiling into a narrative "sky," shifting the perspective of the exhibition space.
The Soul of the Microcosm: An interpretation of the ceiling lights as the "souls" of the workers active within this microcosm. In this staging, visitors and galerists become actors in a life made possible by the labor of these unseen workers.
Hybrid Interpretation: Creating an atmosphere that bridges the gap between an exhibition report and a narrative interpretation of a world populated by artists, gallerists, and the public, capturing the essence of the entire ecosystem gravitating around this microcosm.

RESULTS

This experimental approach provides clients with a differentiating visual identity, where the image acts as a bridge between cultural heritage and contemporary innovation. During Art Genève, this methodology was particularly well-received by clients, who noted that the cinematic perspective added a layer of institutional prestige often missing from traditional press photography. By transforming the technical environment into a narrative space, the studio moved beyond a purely descriptive role to become a strategic partner in brand storytelling. This project is part of an ongoing research cycle exploring how cinematic heritage can redefine the codes of excellence and luxury today.

Photographer & Art Director: Ivan Simeon
Location: Palexpo, Geneva, Switzerland

The metallic ceiling and lights of Palexpo Geneva photographed in a cinematic style inspired by Metropolis and Blade Runner. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Immersive Perspectives and Creative Synergies at Art Genève 2026

Overview

The 2026 edition of Art Genève (picture above) served as a strategic observatory to nurture a prospective reflection on the evolution of visual arts and scenography through the lens of elite design schools and their students. This project captures the dialogue between professional field experience and the academic energy of institutions like HEAD – Genève and ECAL, reinforcing the studio's commitment to the Swiss creative ecosystem.

The Creative Challenge

The primary objective was to analyze emerging trends in Swiss Made creativity and scenography and translate these insights into a refined visual language for high-end environments. A key focus was exploring how narrative mechanics and kinetic objects can redefine the visitor experience within institutional spaces.

Beyond the exhibition, this project acted as a reflection on the future of Swiss design. By engaging with the next generation of creators, I ensure that my approach to complex mandates for high-watchmaking conceptual laboratories remains at the cutting edge of innovation, blending heritage with avant-garde aesthetics.

Process & Collaboration

The immersion at Art Genève was highlighted by profound exchanges with the creative guard, notably within the "Design HEADS" section. A pivotal moment was the collaboration and dialogue with Victoria Jospin regarding her project "Olympia: Le Sommeil de la Raison." Throughout our discussions, I explored:

Mechanical Narratives: Understanding the role of the automaton as a central storytelling device.
Space & Motion: Analyzing how animated structures influence the surrounding architectural perspective.
Academic Synergy: Bridging the gap between the visionary research of the HEAD – Geneva and the technical requirements of luxury world-building

These interactions provide an essential source of inspiration for my studio, where mechanical art becomes a natural extension of the scenographic space.

Conclusion: Nurturing the Future of Swiss Design

This exploration reinforces my conviction that dialoguing with emerging talent is a priority. The dynamic energy found within Swiss design schools is where tomorrow’s visual codes are forged. By fostering these synergies in Geneva, we ensure that the "Swiss Made" label continues to represent the pinnacle of global excellence and creative leadership.
These prospective reflections allow my studio to approach ongoing mandates for prestigious Houses with a constantly renewed vision, where craftsmanship and innovation meet.

Photographer & Art Director: Ivan Simeon
Featured Designer: Victoria Jospin (HEAD – Genève)
Location: Palexpo, Geneva, Switzerland

The automaton installation “Olympia: Le Sommeil de la Raison” by designer Victoria Jospin, HEAD Genève, at Art Genève 2026. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Bridging Fashion Design and Visual Narrative in Geneva

Overview

This project explores the intersection of contemporary fashion and cinematic storytelling. Collaborating with Norma Morel, a recent Master’s graduate from HEAD – Genève, we set out to capture her latest collection, a sophisticated fusion of garments and jewelry. The shoot took place at my studio in Geneva, focusing on how visual language can elevate a designer's vision into a compelling narrative.

The Creative Challenge

The primary objective was to move beyond conventional fashion photography. We wanted to document the technical expertise of the collection while highlighting the synergy between structured silhouettes and fluid movement.

Beyond the aesthetics, this project served as a reflection on the Swiss creative ecosystem. While Switzerland’s elite design schools (like HEAD) produce world-class talent, the industry faces a significant challenge: retaining these creators. This Case Study demonstrates the immense value of providing local platforms for emerging leaders to express their vision.

Process & Collaboration

Working with Norma revealed a talent that extends far beyond design. Throughout the production, she demonstrated an exceptional ability to:

Curate & Lead: Bringing together and managing a diverse team of stylists and models.
Empower: Creating an environment where every collaborator felt inspired to transcend their usual limits.
Unify: Bridging the gap between the craftsmanship of jewelry and the texture of textiles.

In the studio, we utilized specific lighting and color grading to forge a narrative that is both bold and intimate, ensuring the jewelry acted as the heartbeat of the visual story.

Conclusion: Nurturing the Future of Swiss Design

This collaboration reinforces my conviction that Switzerland must evolve into a permanent laboratory for its creators. Talent like Norma Morel’s—combining artistic mastery with natural leadership—proves that these individuals are not just designers; they are the architects and leaders of tomorrow’s creative economy.

By fostering these synergies in Geneva, we ensure that the "Swiss Made" label continues to represent the cutting edge of global innovation.

Photographer & Art Director: Ivan Simeon
Designer: Norma Morel (HEAD – Genève)
Location: Ivan Simeon Photography Studio, Geneva, Switzerland

A male model wearing garments and jewelry from the collection of HEAD Genève graduate Norma Morel, photographed at Ivan Simeon Studio, Geneva.

Portrait of Norma Morel, HEAD Genève graduate Norma Morel, photographed at Ivan Simeon Studio, Geneva.

Case Study: Authenticity as a Pillar of Watchmaking Photography

The Context

Looking at the possible future of the development of photography in the watch sector, one particular project stands out. Captured during the COSC (Contrôle Officiel Suisse des Chronomètres) competition at Geneva Watch Days, the above photograph resonated deeply within the industry, generating significant engagement and professional feedback.

The Challenge: Beyond the AI Era

In an era saturated with AI-generated visuals and generic stock images, the watchmaking sector is at a crossroads. While creativity is essential for industry recovery, I believe the true solution lies in a powerful tandem: Creativity and Authenticity. The challenge was to create an image that feels uniquely human, capturing the "Swiss Made" soul without falling into commercial clichés.

The Creative Approach

To preserve the photo’s integrity, the priority was spontaneity. However, achieving a natural look in a high-pressure environment requires meticulous technical preparation:

Light Management: Testing the precise balance between ambient light and flash to maintain the atmosphere of the room while highlighting technical details.
Strategic Framing: Selecting an angle that provides the necessary context for the viewer while keeping the focus on the human element.
Color Grading Excellence: Applying a sophisticated color-grading strategy—a core specialty of Ivan Simeon Studio—to ensure aesthetic impact while keeping the final result as natural as possible.

The Process & Execution

The success of this shot lies in the "truth" of the moment, which was only possible through careful orchestration. To visualize the final result and optimize the execution, I conducted several lighting and composition tests with other people beforehand. This allowed me to fine-tune every technical detail before the actual subject stepped in.

When the moment arrived, I was able to direct the subject with total confidence. At my request, she positioned herself and naturally began working. This preparation ensured that the authenticity remained intact, visible in the smallest details: the precise tension in the fingers, the way the movement is held, and her natural expression of focus.

The Result

Because of the intense preparation on-site, post-production was kept to a minimum. This resulted in a high-quality press photograph that captures a genuine "story of love" for the craft. In 2025, the uniqueness of an authentic image is no longer just a choice—it is a premium value for the watchmaking and jewelry industry.

A female watchmaker holding a movement during the COSC competition at Geneva Watch Days, photographed by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: Photographic Research and Creative Collaboration at HEAD Geneva (Personal Initiative)

As a Professional Photographer and Art Director based in Switzerland, I frequently get asked: "Why do you photograph the Bachelor's and Master's level fashion creations at the HEAD - Haute École d'art et de design Genève (Geneva University of Art and Design), especially as a personal project?"

The answer lies in a blend of creative passion and strategic professional development. This initiative is a self-driven project, providing a unique opportunity to capture innovative work and push the boundaries of my photographic research.

The Objective: Curating Creative Inspiration

I do not photograph all collections. Instead, I capture the designs that resonate with me the most from a creative standpoint—whether it’s the innovative use of colours or the intricate elaboration of the students’ work. This selective approach allows me to focus my energy on projects that truly inspire me.

My Approach: Experimentation and B2B Application

This project serves as a crucial opportunity for continuous professional development. The dynamic environment of the live fashion show challenges my technical skills, while the artistic freedom allows for valuable experimentation.

Crucially, I am in contact with the students, allowing me to exchange information and opinions with them. This dialogue is a vital part of the process, challenging my own perspectives and helping me discover new ideas. We discuss not only their creative work, but also their research and general culture, making the interaction incredibly enriching for both sides.

Manual Post-Production as R&D:

The images within this case study were captured during the event and have undergone extensive, manual post-production. I specifically test new techniques and ideas, particularly associations of colors and textures. This experimentation phase is a vital part of my workflow:

Testing New Ideas: I use these projects to explore innovative photographic techniques and aesthetics.
Audience Testing: Publishing these results allows me to gauge target audience reactions and refine my approach.
Future B2B Integration: This feedback process helps me bring new, mature techniques that can later be incorporated into future corporate mandates and commercial projects, ensuring my services remain contemporary and cutting-edge.

Results & Impact

The outcome of this ongoing initiative is a high-quality visual archive that reflects the hard work of specific graduates.

Significantly, this allows me to experiment with innovative concepts in collaboration with this emerging generation of creatives. This is designed as a mutually beneficial collaboration: the students provide me with valuable fresh perspectives, and in return, I strive to offer them high-quality visual assets, professional insight from my experience, and access to my network of contacts.

Fashion creation by a HEAD Genève student presented at the school’s fashion show, photographed by Ivan Simeon, Ivan Simeon Studio, Geneva.

Case Study: From Independent Makers to Major Swiss Brands – A Different Photographic Approach

What is the difference between taking photographs for an independent watchmaker and for a brand belonging to a group or for one of the major Swiss watch brands?

The difference is significant, primarily concerning the approach to themes such as authenticity and expertise. Working with independents brings an additional layer of responsibility. Often, there are no predefined standards, extensive market research, or established marketing tools to draw upon; the creative direction must be built from scratch.

The Human Factor in the Creative Process

When working on assignments for independent watchmakers, people are at the heart of the creative process.
This means a professional photographer needs to conduct a great deal of preliminary research and pay close attention to subtleties. It also requires building a different kind of working relationship with the talent and their team compared to that required for a large corporation or an industry leader. The collaboration is closer, more personal.

When Talents Join Forces: A Case in Point

Where it gets truly interesting is when several independent talents join forces to create a timepiece without compromise. An example? My assignment for Maison Renaud Tixier and the Monday Organica watch by Olivier Vaucher. This project combined the technical innovation worthy of a renowned master watchmaker such as Dominique Renaud with the unique creative signature of Ateliers Olivier Vaucher.

Precision Work: The Formula 1 Analogy

It is precision work, which can perhaps be compared to driving a Formula 1 car: the slightest detail can cause you to veer off the track and lead to the race being neutralized, or even a red flag. The photographer cannot afford to make any creative or technical mistakes.

This demands extreme care with the photography to avoid relying heavily on post-production tools such as Photoshop. The naturalness and authenticity of the images must highlight the watchmaker's unique approach and the creative synergies proposed by Olivier Vaucher, centered on cutting-edge craftsmanship applied to watchmaking.

Results & Impact

Ultimately, these mandates are far more than just commercial assignments; they are opportunities for deep collaboration that enrich all involved parties.
The outcome is an authentic visual narrative that perfectly mirrors the craftsmanship of the independent watchmaker. This process allows me, the photographer, to contribute my technical expertise and creative vision while deepening my understanding of the industry's cutting edge—a truly mutually beneficial partnership that goes beyond a standard client-vendor relationship.

Portrait of Master Watchmaker Dominique Renaud and Olivier Vaucher. Dial of the Monday Organica watch by Olivier Vaucher for Maison Renaud Tixier, with hand engraving and translucent blue Grand Feu enamel. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

Image color management description. Portrait of Master Watchmaker Dominique Renaud and Olivier Vaucher. Dial of the Monday Organica watch by Olivier Vaucher for Maison Renaud Tixier, with hand engraving and translucent blue Grand Feu enamel. Photograph by Ivan Simeon, Ivan Simeon Studio, Geneva.

What about the colour work on this specific mandate?

As the watch face, which evokes the architecture of the movement and is therefore in a way a portrait of Dominique Renaud, is the dominant subject of the image, I worked on the colours in two phases:

1) a study of the colours of the image as a whole
2) a study of the colours of the watch face, i.e. the subtleties of the different shades of blue and their reflections.

This was a real challenge due to the complexity of the mixed techniques used by Olivier Vaucher. These included multi-level hand engraving and translucent blue Grand Feu enamel, which creates a kaleidoscopic effect. Summarising more than 112 hours of work on the dial alone in a single image.

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