Mirko Westerbrink on His Clean and Authentic Style

Photographer Mirko Westerbrink, repped by NM Productions, was born in Germany and raised in the Netherlands. The camera has been an “extension of his arm” for as long as he can remember. His professional photography experience began at Studio Wunsch, after which he established his own photography studio and has since worked with household names from all over the world. His clients include Volvo, Alpro and Jaguar and he describes his style of photography as “clean and candid.” Mirko refers to himself as a “big car guy” and one can easily see that from his work in the automotive sector. 

The photographer started with the initial idea that fashion would be his thing, but soon realised shooting what he already loved worked incredibly well. And although some who haven’t worked in the field might underestimate the process, Mirko explains why it takes more than one person and more than a good backdrop to do what he does in his profession. The incredible clean lines, perfect location and movement in the shots are only a handful of the details Mirko has learned to perfect through the years working in automotive. 

Photographer: Mirko Westerbink @ NM Talent

LBB> What elements of a project sets one apart from the other and what sort of projects get you excited to shoot them?

Mirko> Actually lots of things. The locations, weather, light, all of these things set projects apart from one other. Also, the whole energy on set is really important to get great results. 

LBB> How do you approach creating a treatment for a spot? 

Mirko> I make notes to best understand what the client wants and then adapt to their wishes from there. Always ensuring I incorporate my style and approach, and always trying to push the creative a bit further. 

LBB> If the project is for a brand that you're not familiar with or don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Mirko> I think it’s really important to research before you go to create something. In my opinion it makes it easier, but on the other hand it also gives the client a great feeling that you come with some knowledge of the brand which is VERY important. Therefore, I always look into the brand. For example; what’s their style and how are they communicating? It helps me a great deal.

Photographer: Mirko Westerbink @ NM Talent

LBB> For you, what is the most important element to have on set and why? 

Mirko> The job needs to get done of course but a little humour for me is very important. With this I mean that there is a great energy present on set, and that everybody feels comfortable during the creative process. I think this makes it a lot easier as well. 

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to? 

Mirko> As I’m a big car guy, I love working on automotive campaigns. I actually started photography in the first place because I thought that fashion would be the thing that I love. However, later on I discovered that photographing cars was what I really fell in love with. Shooting this in a clean and authentic way is my go to style. 

Photographer: Mirko Westerbink @ NM Talent

LBB> What misconception about you or your work do you most often encounter and why is it wrong? 

Mirko> Often people view the final product and think that it’s just about taking a picture at a nice location. They don’t realise that sometimes photos are the final results of several photos, that it can take a long time to create a concept which also includes finding the perfect location.The process can sometimes be underestimated. This is not to say that every shoot is like this. I have certainly worked on projects where we have just rocked up and taken some amazing pictures but as we all know, every project and approach is different. It's also not just about the photographer, it takes a team working together. It’s the assistants, the producer, the production company, gaffers, catering and much more in creating these amazing projects

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it? 

Mirko> I once photographed a kids campaign for Volkswagen, the thing is with young kids they are only allowed to work for a certain amount of time, and of course the job needs to be done and needs to be covered within that time frame. Sadly one of the kids didn’t want to join us in the way we had expected and needed them to. Luckily, I am familiar with young kids as I am a dad and have a young daughter of my own. Due to this, I could adapt my parenting skills from things I was familiar with in everyday life. In the end we covered all the shots we needed in time.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea? 

Mirko> The most important thing is knowing the brands’ identity. If you know your idea promotes that in the right way, it's a case of explaining exactly WHY the idea should be protected. 

Photographer: Mirko Westerbink @ NM Talent

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? 

Mirko> I think it’s a great thing! It encourages more collaboration across the board.We’re all creative so why not share the creativity with each other to enable us to do more. I’m all for it. 

LBB> Are you open to mentoring and apprenticeships on set? 

Mirko> 100％ and that’s the way I got into this field. I started with an internship, preparing shoots, assisting on productions and so on. I think this is the best way to learn the skills you need in this field. 

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)? 

Mirko> It’s always best to first set this straight with the client. Some productions are just for some select formats, so it’s always good to know which formats are required from the client before we start production. Once you know this, you can then set your framework. 

LBB> How’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work? 

Mirko> For me it’s very important to stay focused and keep learning. Technology is sometimes moving so fast that I feel like I’ve lost track. But seriously, it’s key to keep learning. Mostly it's important to know about the gear you’re using - try to play around and get more and more familiar with it to see what’s possible. The same for lighting techniques, and post-production techniques. It’s always good to know something new, something extra. 

LBB> Which pieces of work do you feel really show off what you do best – and why? 

Mirko> My most favourite is my latest work for Mercedes G Class. To bring a clean but fresh flare into the story is what really works well. Doing something that is not done often and trying to show things from a different perspective.