AGNIESZKA DOROSZEWICZ – Visionary automotive images between style and staging – Information

AGNIESZKA DOROSZEWICZ – Visionary automotive images between style and staging

Between gloss, precision and emotion, Agnieszka Doroszewicz develops a visible language that redefines basic automotive images. We spoke with the photographer for GoSee – she can even seem stay on March 26, 2026, on the WRAP PARTY speak at Studio Gleis 7 in Hamburg.

Her work strikes effortlessly between the codes of style, design and promoting – and that is exactly the place her energy lies: automobiles aren’t introduced merely as merchandise, however as a part of an aesthetic narrative that might simply as simply originate from a style editorial.

Surfaces turn into pores and skin, gentle turns into texture, motion turns into perspective. Agnieszka phases autos with an emotional depth extra generally present in magnificence and style images. Her portfolio makes one factor clear: the boundaries between automotive, style and sweetness have lengthy turn into fluid – what issues is the perspective behind the picture.

At the WRAP PARTY speak, she is going to be a part of transportation photographer Simon Puschmann and sweetness photographer and TUSH writer Armin Morbach to debate precisely this intersection: two worlds, one precept – most aesthetics underneath most expectations. The speak will likely be moderated by Ebba Fahrenhorst.

Ahead of the occasion, we requested Agnieszka a number of questions and invited her to curate a collection of her work – extra on this and the total dialogue stay in Hamburg.

Your automotive work usually feels very near style images – how acutely aware is that this affect, and the place does style start for you in a automotive?

Agnieszka: My fascination with the auto has by no means stemmed from expertise, however at all times from aesthetics. My sources of inspiration lie in structure and style: the poetic minimalism of Tadao Ando and his mastery of sunshine and shadow, the sculptural avant-garde of Iris van Herpen, the tactile poetry of textures in Issey Miyake’s work, or the architectural brutalism of Rick Owens, who approaches clothes like constructed constructions.

This mindset is what basically connects style and structure for me: each are about textures and varieties that evoke emotion. That is strictly the place style begins for me in a automotive – in the meanwhile it stops being a product and turns into a part of an aesthetic narrative. A story that might simply as simply belong to a style editorial. I see the car as an perspective, a sense, a sculpture in movement.
At this intersection between object and character, between operate and type, the genres merge for me. What drives me is a method that mixes progressive style parts with an magnificence that doesn’t have to be polished – one that pulls its energy exactly from the uncooked and the imperfect.

Light performs a central function in your work – extra sculptural than purely purposeful. Do you method lighting in automotive the identical manner as in magnificence?

Agnieszka: For me, gentle will not be a software to make one thing seen – it’s the materials I form with. In magnificence images, gentle defines the topography of a face: the place there may be depth, elevation, vulnerability. With a car, it’s primarily the identical precept, besides that the “skin” is manufactured from paint and chrome. A fender reacts to gentle like a cheekbone.

The query isn’t “How do I light this?” however slightly “What do I want to conceal and what do I want to reveal?” In each genres, it’s about creating an emotional hierarchy with gentle: guiding the attention, constructing stress, leaving room for thriller.

Beauty images is about pores and skin, texture and proximity – can this mind-set be utilized to autos?

Agnieszka: A car has “skin” – and that pores and skin tells a narrative. The grain of carbon, the depth of paint, the sting the place a seam separates two surfaces – these are textures that deserve the identical respect as pores and skin in magnificence images.

Where do you see the strongest similarities between automotive and sweetness – and the place are the clear variations?

Agnieszka: The greatest similarity is that each genres exist underneath the demand for absolute perfection – and the strongest work emerges exactly the place you continue to discover freedom inside that strain. In each instances, it’s about “surfaces” that carry emotion. The distinction lies elsewhere. In magnificence images, you’re employed with a dwelling counterpart – there’s a second, a look, an expression that may by no means repeat itself. A automotive “stands still, it waits.” That requires one thing else: it’s important to give it a soul and emotion.
In magnificence, you uncover the second. In automotive, it’s important to invent it.

Your photos have a really managed aesthetic. How a lot is deliberate – and the way a lot occurs intuitively on set?

Agnieszka: I plan as exactly as potential, however I plan the framework of a shoot, not the picture itself. I do know upfront what story I wish to inform, what temper, what colour palette. The imaginative and prescient is obvious. But on location, there may be at all times a component of unpredictability – and that’s the place the true pleasure lies. The studio affords extra management, however the friction of actuality affords one thing else: immediacy. The picture is created on set, in an intuitive second. For me, management will not be the alternative of instinct – it’s its prerequisite. Only when the framework is ready is the thoughts free for the sudden. The finest photos are those who shock inside a strict construction.

What function does post-production play in your workflow – refinement or already a part of the thought?

Agnieszka: Post-production will not be a subsequent step for me – it’s a part of the general idea from the very starting. In most instances, I deal with it myself. When I’m on set, I already see the picture in its last type: how retouching will calm a floor, how colour grading will outline the tone, what temper will in the end carry the picture. For me, it’s not “repair.” It’s an extra inventive layer, as integral as another resolution within the course of. Like an architect who doesn’t simply plan the construction, however already is aware of how the afternoon gentle will fall by the completed window.

Do instruments like CGI and AI speed up manufacturing, change aesthetics – and the place is automotive images heading?

Agnieszka: I wouldn’t say these instruments speed up manufacturing – they shift the method, each in time and conceptually. CGI has reached a degree of high quality in recent times that’s completely justified. I get pleasure from working with it loads, however at all times relying on the challenge, at all times as a acutely aware resolution.

With AI, I’m extra essential. High-end or hype? What AI delivers is approximation. What premium calls for is precision and high quality. That hole has not but been closed.

Tools don’t exchange perspective. In the top, they’re simply instruments and needs to be handled as such. What they can not exchange is the inventive and human groundwork: the selections, the mindset, the imaginative and prescient and the concepts that precede a picture. Only this groundwork makes it potential for one thing actually precious and emotional to emerge. Something that stays and resonates.

The actual hazard lies elsewhere: {that a} technology of photos emerges that appears “good enough” (at a look), and that expectations progressively shift downward. My place is obvious: expertise might change the method, however not the usual. The consequence should at all times be higher than what the software alone can ship.

WRAP PARTY Talk – Beauty & Automotive
STUDIO GLEIS 7
March 26, 2026 – 5 PM
Free registration upfront

 
CREDITS


Photographer     Agnieszka Doroszewicz

 

FEATURING:
STUDIO GLEIS 7