Antwerp-based photographer Bart Kuykens (49) captures the classic Porsche scene in his own distinctive way, approaching it as a lone wolf. His focus is on the people and their surroundings, rather than the car itself. While the car remains a central theme, it takes a secondary role in his new coffee table book ‘Dream And Drive In The 305‘, which he is set to release soon.
Written by Anja Van Der Borght
Earlier this year, visitors to the “Porsche – Driven By Dreams” exhibit at Autoworld had the chance to admire an entire wall of black-and-white photos of the Porsche 911 by Bart Kuykens. After more than a decade of self-publishing coffee table books and holding over 25 exhibitions in cities like Los Angeles, Miami, Palm Springs, San Diego, Paris, London, Zurich, Amsterdam, Hamburg, and Munich, this was Kuykens’ first major exhibit in his home country.
You recently explored color photography with “Early Colour,” featuring classic Porsches. What inspired this shift?BK: “Initially, I hadn’t planned to release books, but after my father’s passing—a hobby photographer who often took pictures with his Leica and Hasselblad, yet never pursued it further—I followed in his footsteps. I started by snapping some shots of friends with their classic Porsches. These grew into enough material for my first book, A Flat 6 Love Affair, which eventually turned into a series of seven books, each representing a letter of ‘Porsche.’ For my tenth book, I wanted to step out of my black-and-white comfort zone and shoot in color. After eight years focused solely on black and white, working in color was fascinating. Colors can be unpredictable, and it took practice to balance color, contrast, and saturation differently. I had to welcome the vibrant world of color, even though my mind still thought monochromatically. Embracing it as part of the journey helped me grow as a photographer. It was a thrilling and slightly intimidating experience. I realized it’s more challenging for me to tell a story in grayscale. With color, there are simply more impulses—a sunset on the beach tells a lot when the image is in color.”
What was your aim with “To Live and Drive in Los Angeles”?
BK: “Well, the book is now sold out, but as the title suggests, it was about people living and driving classic Porsches in LA. Since I’ve visited LA many times, it seemed like a fun theme. I managed to connect with some interesting people from the Porsche world, including Jay Leno. This is now my 11th or 12th book, so I wanted to dedicate one to the city I’ve become a little smitten with. The photos, as always, are analog black-and-white and limited in edition. With only 250 copies, the buyer gets an exclusive piece.”
Do you have a favorite shot from the book?
BK: “People often ask me that. I don’t really think that way. When I flip through my books, there are moments that I remember as ‘fun,’ but this changes over time. Each series has its characteristics, strengths, and unique moments. If I had to choose, I’d say the series with Matt Winter and his family—his house, wife, and kids—those are wonderful images. But I also enjoyed the other shoots; I only publish photos that I like. I rarely shoot for a client, so I capture the people and places that interest me. In other words, I love my job.”
A new book is coming this December. What’s it about?
BK: “It’s centered around Miami’s Porsche community and the people who live there. There’s also an upcoming project in Morocco around a 1966 Porsche 912, and I’ve started a series on Ferrari, focusing on the classic models. That series will likely consist of four books, and there’s also a book on Chicago in the works.”
Do you always shoot analog with Leica or Hasselblad?
BK: “I find something genuinely magical in shooting film, especially when capturing the essence and souls of people. Black-and-white film is the perfect medium for conveying raw emotions and depth. I shoot even inanimate subjects on film. Nearly 99% of automotive photographers shoot digitally, which has advantages—such as the volume of shots or shooting speed, up to 60 frames per second, which isn’t possible with analog. Despite the cost of developing film rolls and scanning, I stick with analog, and people find it special.”
What message do you want to convey?
BK: “I try to capture the classic Porsche scene in a different way, focusing on the people and their surroundings rather than on the car itself. The car is essentially secondary, even though it’s the common thread throughout my Porsche books.”
How would you describe your work in a few sentences?
BK: “Somewhat dark, with a beautiful analog grain but still with depth. I always seek unique places where the light hits in such an elegant way that you can almost fall in love with it.”
You spend three to four months a year in the U.S., and your next coffee table book is coming soon?
BK: “My next coffee table book, Dream And Drive In The 305, is all about analog black-and-white photos of people living in Miami who drive classic Porsches. Miami is called the 305 because of its original area code. Everyone who mattered in Miami had a 305 number. Even Flipper had a 305 number, though technically he couldn’t dial since, well, he has flippers. Scarface had one too. I love classic Porsches, but it’s not like I work for Porsche or have any obligations to them—I wouldn’t want that. I want creative freedom and to make books I’m proud of. In this new book, I wanted to tell the story in my own way: analog, black and white, without the distraction or influence of too many colors. Though sometimes, yes, it’s a shame—a stunning blue car fades to a gray tone in a black-and-white photo. Black-and-white seems simple, but it’s actually challenging. The power of black-and-white photography is that it reveals only the essentials. It’s timeless, but doing it well takes skill.”
My next coffee table book, ‘Dream And Drive In The 305’, coming out in a few weeks, is centered around analog black-and-white photos of people who live in Miami and drive classic Porsches.
– Bart Kuykens
I shoot fast and painless.
– Bart Kuykens
Was Fast & Painless your first portrait book?
BK: “Yes. During my travels, I met so many interesting people—mostly in music and film—that I began photographing them. Those portraits have become a big passion of mine. Fast and Painless is a phrase I say to people often: I shoot fast and painless, meaning the session is rarely longer than necessary and never feels awkward.”
What’s the best compliment you could receive as a photographer?
BK: “Many people say my portrait work resembles Anton Corbijn’s. That’s a huge compliment, as I’m a big fan, especially of his older work.”
Was “Aldeburgh Seagulls” a lucky shot?
BK: “Luck doesn’t hold value for me as an artist. Only when I believe I could recreate an image am I satisfied. That’s the beauty of analog photography; it’s a craft. With 60 frames per second on digital, there’s always going to be a good shot among thousands, but I prefer creating intentional, controllable images. Even the seagulls in that photo are entirely natural. I only use Lightroom, a lighter version of Photoshop, for minor adjustments; I’m not a fan of heavy post-editing.”
Which automotive photographers do you admire?
BK: “None, really. I don’t find automotive photography particularly interesting. Give me the black-and-white work of Elliott Erwitt, James Nachtwey, or Corbijn. Even though I photograph a lot of cars and have published many car books, I don’t see myself as an automotive photographer. If sharpness or racetrack shots are needed, there are plenty of photographers better suited. I prefer portraits, architecture, landscapes. I also enjoy documentary and street photography.”
What has been your most memorable shoot?
BK: “Photographing Paloma Picasso in a white 1965 Porsche 911 was memorable because she’s a kind, delightful woman and not the typical person you’d expect in a car shoot. I had a drink with her in her home in Lausanne, and we talked about life. She showed genuine interest in my work. Chatting with Pablo Picasso’s daughter, surrounded by paintings he made for her that no one’s ever seen—it was a unique experience. Jay Kay (Jamiroquai) and Dave Gahan (Depeche Mode) were also great because they were icons of my youth. I usually connect with these names through mutual acquaintances; with Gahan, for example, I knew the founder of Soulsavers, with whom he was on tour. With portraits, conversations often go deeper than when photographing a car, which I find appealing.”
Talking with Pablo Picasso’s daughter, surrounded by paintings he made for her that no one has ever seen…
– Bart Kuykens
Is a classic Porsche your ultimate dream car?
BK: “I drive a 1966 Porsche 912, but I’d be just as happy with a Ferrari 308, a Saab 900 Turbo, or a Volvo P1800 ES. Classic cars don’t have to be expensive to be beautiful. It’s all about personal taste.”
Dream And Drive In The 305, 150 euro.
