Some shoots aren’t just about capturing a product — they’re about chasing a feeling. For Isaac’s latest line-up, we set out to create more than content. We wanted to build a mood, a rhythm. Something that matched the raw, precise character of the bikes themselves.

It started in the early hours, deep in South Limburg. The roads still damp from the night before, mist clinging low over the valleys. We moved with the light, chasing the way it hit carbon, the way it caught on skin and sweat and speed. Riders disappeared around corners, re-emerging in silence or wind. Everything felt stripped back — no distractions, just rider, road, and machine.

As we crossed into Belgium, the terrain opened up. Rolling hills, narrow lanes, long stretches of nothing. Here, the pace slowed — not in movement, but in tone. The camera lingered longer. Riders found their rhythm. There was a calm intensity in the way the bikes moved — quiet, deliberate, efficient. A kind of language between frame and landscape.

We closed at the coast. Not for drama, but for contrast. Open skies. Harsh wind. Minimal elements. Everything reduced to line, movement, and texture. It was here the story settled. No big finish — just a straight road, a rider fading into the horizon, and the sound of tires over salt-washed pavement.

This wasn’t about ticking shots off a list. It was about letting the ride lead the shoot. Letting environment and design speak for each other. And being there — in that thin space between performance and poetry — to capture it.