Quiet and intimate portrait moments

In his work, silence speaks as powerfully as light. Belgian photographer Zeb Daemen reveals his creative process through a series of black and white portraits that feel almost intimate in their delicacy. Working across fashion and portraiture, he creates suspended, timeless images where the focus shifts beyond clothing to the person in front of the camera.

Zeb created the images in this series with the Leica SL3 and SL2 cameras, always using a 50mm lens. The Leica SL-System serves as a tool that perfectly matches his instinctive approach, one centered on composition, light, and the essence of the moment.

Can you describe the moment when you realized that photography was the art form you wanted to dedicate your work to?
I’ve been taking pictures from a very young age, around 13. I used to photograph my sisters and girls from the neighborhood. We’d pack some clothes into a backpack, sneak into an abandoned house, and take pictures there, then have them developed at the local store. I loved it, but at the time I didn’t realize it could become a full-time profession. As I got older, photography books and magazines started to fascinate me, and my interest expanded to film and music videos. I became obsessed with images in general. It felt like something I naturally had to pursue. When I was about 24, I quit my job and dove in completely.

You work extensively with fashion editorials and portraits. How does your approach differ between a classic portrait and a fashion editorial shoot?
I almost always include a strong portrait within my editorial series. I don’t really separate the two in my approach; they go hand in hand. Even in fashion editorials, I’m always looking for that quiet, intimate portrait moment. Then it becomes a moment about the person, not the clothes.

Your images often feel very calm, almost intimate. How do you create an atmosphere on set that allows people to truly open up in front of the camera?
It comes quite naturally, but it’s also something I’ve learned over the years. I’m an open and calm presence on set. I like to have a conversation before the shoot, talk about the mood, what we want to convey, and make sure everyone feels comfortable. Once that’s clear, it’s about enjoying the process. We’re just making pictures. There’s no need for stress.

Which of your recent image series or projects feels most personal to you and why? 
There are always a few shoots that feel personal to me, especially editorial projects where there’s space to express ideas freely. My most recent personal work is my Wrestlers study. It’s inspired by vintage photography from the 1940s and ’50s, particularly the way the male physique was portrayed in that era. The work of Bob Mizer was a strong reference point.

Is there an image from your career that holds a particularly personal story or meaning for you, and if so, why? 
There are quite a few images that hold special meaning. Sometimes it’s because I photographed someone I admire or find fascinating. Other times it’s about the story behind the image - a shoot abroad, a great team, a beautiful adventure. When I look back at those images, they immediately take me back to that moment. Those are the special ones. That said, I might still have to make  that one great image.

What originally drew you to Leica - was it a conscious decision or a specific encounter that changed the way you photograph? 
Leica was initially introduced to me by my friend and photographer Koen Vernimmen when I was looking for something different. He suggested I try it out, and I’m really glad I did. Beyond the beautiful design, the SL system suits me perfectly: simple, intuitive, and very smooth to work with. I’m a photographer who focuses on composition and light rather than chasing autofocus or fast frame rates. I don’t believe a camera makes you a better photographer, but when you genuinely love using it, that definitely adds something. I really enjoy working with it.