Brivon is a small commercial photography studio. We make pictures for brands that care about craft — fashion houses, architecture practices, food magazines, and the kind of catalogues people keep on a shelf instead of in a folder.
We chose these because each one taught us something new — a different light, a different brief, a different way to ask a subject to stand still. Click through to see how each project was made.
Brivon was founded in 2014 by two photographers and a producer who had spent four years freelancing across Paris, Stockholm and Brooklyn, and who were tired of how often a great brief was reduced to whichever frame the agency could approve fastest. The studio is small on purpose — a working group of seven people, one in-house retoucher, two long-time producers, and a roster of fifteen freelance assistants we trust enough to recommend without flinching.
We work slower than the rate card. The output looks faster than the rate card. — Mira Halden, founder
What that means in practice: we do fewer projects per quarter than most studios our size, we keep the same producer on a brand from the first call to the final delivery, and we ship a colour-managed gallery the day after the shoot — not the week after. Clients have called this "expensive when you book it, cheap when you ship it." That is, on reflection, exactly the right description.
Most studios pick a lane — fashion, food, architecture, product — and stay in it. We work across all five because the same lighting principles, the same colour discipline, and the same patience apply. The discipline is constant; the subject changes.
Magazine covers, story-led portrait essays, location-driven editorial. We light for the page, not the contact sheet — every frame is chosen and lit knowing where it lands in the layout.
For TYPE · Gentlewoman · CerealSS, FW, holiday — the full seasonal cadence with one continuous creative direction.
E-com pack-shots and elevated product still life, shipped retouched within 48 hours of capture.
Behind-the-bench, in-the-kiln, on-the-line — the work-of-making, told honestly.
A second crew, the same direction. We bring our own DP for hybrid stills-and-motion days.
An ICC-profiled grading pipeline, an in-house retoucher who has been with the studio since 2017, and a printer relationship in Berlin and Brooklyn for any project that ends up on paper.
Calibrated to GRACoL · ISO 12647 · Adobe RGBA first call is twenty minutes and free, always with the producer who will run your project from start to finish. Most projects ship in three to six weeks; the bottleneck is almost never the shoot itself — it is the brief, the location lock, and the talent confirmation. We keep that gauntlet short by holding the kickoff in the first week, not the third.
Day 02 · Brooklyn
Brooklyn is a 280-square-metre daylight space in a converted printers' building in Greenpoint — north light, 4.6-metre ceilings, a working kitchen for food work, and a full grip kit. Berlin is a smaller, 140-square-metre room in a Mitte ground floor — south light, polished concrete, and a calmer pace for editorial portraits and product. We move between the two rooms based on brief and time of year.
Greenpoint · NYC
Selected, 2023–25
Short notes from the studio — sometimes a working note about a lighting setup, sometimes an opinion about colour management, sometimes a frame we kept thinking about long after delivery.
Soft does not have to mean flat. A working note about why a hard silk still beats a soft box for portrait work on a clear day.
Read note
An argument for hiring your printer before you hire your retoucher. A note for studios scaling from solo into a working team.
Read note
From the Atrium SS25 shoot — why the third frame in any sequence almost always reads the best, and what to do about it.
Read noteWe take on twenty to twenty-six campaigns a year, and we book three to five months ahead. If you have a brief brewing for Q2 or later, the right time to send a first note is now.
