From young designers to the Grandes Maisons, from his studio at London to the four corners of the world, from the delicate jewel to the imposing piece of several millions, Simon Martner, international photographer specializing in jewellery, sublimates each jewel since more than 10 years in the respect of the identity of the jeweler.

Today, he reveals for Luxus Plus some tips to meet the specific needs of this universe and to stand out in an era of visual overproduction.

How would you define a good jewellery photographer?

Generally speaking, a good photographer should know how to control light and reflection. Which is a major challenge when it comes to jewellery because stones and materials have many reflections. But it is also important to have knowledge and understanding of jewellery design. It is our responsibility to transform a 3D good into a 2D image, while preserving the beauty, quality and expensive character of the gem. Because with social networks, people are now overwhelmed by images. It is therefore extremely important to make the photo exceptional.

You have more than 10 years of career in jewellery. In view of your background, do you have any advice for young photographers?

Between my first and second year, I mass photographed in a robotic way to acquire knowledge. And I thought I had the perfect technique. It was the most boring time of my entire career. I had so much potential that I could improve but just couldn’t see it. And gradually I realized the interest of challenging myself. When I realized the importance of getting out of my comfort zone and the extent of the possible thanks to the many plays of positions and light, my work became more interesting. I was also able to show to the jewelers I work with that I take their needs very seriously. They spend months perfecting their designs. So when it comes to showcasing them, they want someone who is completely involved and who is committed to recreating a perfect image to enhance their creations. You are not there just to photograph. You can propose, exchange and bring your own artistic vision.

Do you use other artistic trends to enhance your photos?

I draw, I play music, I skateboard, I do a lot of analog photography. And I imagine, in one way or another, it influences my style. But, the drawing, that’s for sure. And I would say mostly analog photography. It helps bring freshness to the capture of a moment. Because many jewellery photographs are very controlled during their realization. It’s interesting to learn how to just capture the instant. And between my collaborations and the clients I meet, I am also inspired by the friendships I create around the world.

Speaking of that, you are an international photographer, how do you organize your shootings? How do you make yourself known?

Mainly by word of mouth. I haven’t advertised for many years. My clients also discover me via my Instagram account or in jewellery fairs. I also have a collaboration with the jewellery writer Katerina Perez, who is a known reference in the industry and who has introduced me to several clients around the world. But the majority of these are in London. The nature of London means that there are people from all walks of life who travel to this city. Then I move to where my clients are going. I have portable professional equipment and I easily set up a jewelry studio without the need for them to pay anything. It allows me to intervene anywhere.

Can you tell me about one of your projects or collaborations?

For several years, I have worked regularly with a British jeweler named Hirsh for their campaign and website. It is a very distinctive, very colorful House. Lately, we had photoshoots with the model Melissa Re and I worked with stylists to recreate a very English-style staging, playing with local customs, such as with tea or Fish and Chips.