News // 20 News by Agnieszka Doroszewicz
Between gloss, precision and emotion, Agnieszka Doroszewicz develops a visual language that redefines classic automotive photography. We spoke with the photographer for GoSee – she will also appear live on March 26, 2026, at the WRAP PARTY talk at Studio Gleis 7 in Hamburg.
Her work moves effortlessly between the codes of fashion, design and advertising – and this is precisely where her strength lies: cars are not presented merely as products, but as part of an aesthetic narrative that could just as easily originate from a fashion editorial.
Surfaces become skin, light becomes texture, movement becomes attitude. Agnieszka stages vehicles with an emotional depth more commonly found in beauty and fashion photography. Her portfolio makes one thing clear: the boundaries between automotive, fashion and beauty have long become fluid – what matters is the attitude behind the image.
At the WRAP PARTY talk, she will join transportation photographer Simon Puschmann and beauty photographer and TUSH publisher Armin Morbach to discuss exactly this intersection: two worlds, one principle – maximum aesthetics under maximum expectations. The talk will be moderated by Ebba Fahrenhorst.
Ahead of the event, we asked Agnieszka a few questions and invited her to curate a selection of her work – more on this and the full discussion live in Hamburg.
Your automotive work often feels very close to fashion photography – how conscious is this influence, and where does fashion begin for you in a car?
Agnieszka: My fascination with the automobile has never stemmed from technology, but always from aesthetics. My sources of inspiration lie in architecture and fashion: the poetic minimalism of Tadao Ando and his mastery of light 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 clothing like built structures.
This mindset is what fundamentally connects fashion and architecture for me: both are about textures and forms that evoke emotion. That is exactly where fashion begins for me in a car – at the moment it stops being a product and becomes part of an aesthetic narrative. A narrative that could just as easily belong to a fashion editorial. I see the vehicle as an attitude, a feeling, a sculpture in motion.
At this intersection between object and character, between function and form, the genres merge for me. What drives me is a style that combines progressive fashion elements with an elegance that doesn’t need to be polished – one that draws its strength precisely from the raw and the imperfect.
Light plays a central role in your work – more sculptural than purely functional. Do you approach lighting in automotive the same way as in beauty?
Agnieszka: For me, light is not a tool to make something visible – it is the material I shape with. In beauty photography, light defines the topography of a face: where there is depth, elevation, vulnerability. With a vehicle, it is essentially the same principle, except that the “skin” is made of paint and chrome. A fender reacts to light like a cheekbone.
The question is never “How do I light this?” but rather “What do I want to conceal and what do I want to reveal?” In both genres, it’s about creating an emotional hierarchy with light: guiding the eye, building tension, leaving room for mystery.
Beauty photography is about skin, texture and proximity – can this way of thinking be applied to vehicles?
Agnieszka: A vehicle has “skin” – and that skin tells a story. The grain of carbon, the depth of paint, the edge where a seam separates two surfaces – these are textures that deserve the same respect as skin in beauty photography.
Where do you see the strongest similarities between automotive and beauty – and where are the clear differences?
Agnieszka: The biggest similarity is that both genres exist under the demand for absolute perfection – and the strongest work emerges precisely where you still find freedom within that pressure. In both cases, it’s about “surfaces” that carry emotion. The difference lies elsewhere. In beauty photography, you work with a living counterpart – there is a moment, a glance, an expression that will never repeat itself. A car “stands still, it waits.” That requires something else: you have to give it a soul and emotion.
In beauty, you discover the moment. In automotive, you have to invent it.
Your images have a very controlled aesthetic. How much is planned – and how much happens intuitively on set?
Agnieszka: I plan as precisely as possible, but I plan the framework of a shoot, not the image itself. I know in advance what story I want to tell, what mood, what color palette. The vision is clear. But on location, there is always an element of unpredictability – and that is where the real excitement lies. The studio offers more control, but the friction of reality offers something else: immediacy. The image is created on set, in an intuitive moment. For me, control is not the opposite of intuition – it is its prerequisite. Only when the framework is set is the mind free for the unexpected. The best images are those that surprise within a strict structure.
What role does post-production play in your workflow – refinement or already part of the idea?
Agnieszka: Post-production is not a subsequent step for me – it is part of the overall concept from the very beginning. In most cases, I handle it myself. When I’m on set, I already see the image in its final form: how retouching will calm a surface, how color grading will define the tone, what mood will ultimately carry the image. For me, it’s not “repair.” It’s an additional creative layer, as integral as any other decision in the process. Like an architect who doesn’t just plan the structure, but already knows how the afternoon light will fall through the finished window.
Do tools like CGI and AI accelerate production, change aesthetics – and where is automotive photography heading?
Agnieszka: I wouldn’t say these tools accelerate production – they shift the process, both in time and conceptually. CGI has reached a level of quality in recent years that is absolutely justified. I enjoy working with it a lot, but always depending on the project, always as a conscious decision.
With AI, I’m more critical. High-end or hype? What AI delivers is approximation. What premium demands is precision and quality. That gap has not yet been closed.
Tools do not replace attitude. In the end, they are just tools and should be treated as such. What they cannot replace is the creative and human groundwork: the decisions, the mindset, the vision and the ideas that precede an image. Only this groundwork makes it possible for something truly valuable and emotional to emerge. Something that stays and resonates.
The real danger lies elsewhere: that a generation of images emerges that looks “good enough” (at a glance), and that expectations gradually shift downward. My position is clear: technology may change the process, but not the standard. The result must always be better than what the tool alone can deliver.
WRAP PARTY Talk – Beauty & Automotive
STUDIO GLEIS 7
March 26, 2026 – 5 PM
Free registration in advance
20.03.2026
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For the new BMW M2CS campaign, Agnieszka Doroszewicz created a visual world that blends driving dynamics with modern architecture and urban scenery. The production took place in the United Arab Emirates – between Dubai and Abu Dhabi - where futuristic cityscapes and striking infrastructure provide a distinctive backdrop.
At the center of the series is the BMW M2CS in motion: clean angles, precise driving shots and the characteristic performance feel of the M models. Doroszewicz photographed the car on locations including Dubai’s Meydan Bridge with its iconic, wave-like LED structure, as well as in tunnels, elevated roads and contemporary urban environments.
Her visual approach combines clarity, tempo and urban modernity, with a focus on atmosphere, light and movement.
10.12.2025
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For the new BMW X1 campaign with the claim “Choose What Drives You”, renowned transportation specialist AGNIESZKA DOROSZEWICZ was once again behind the camera. Her contemporary visual signature – defined by clean forms, urban aesthetics, and dynamic compositions - places the BMW X1 in a modern and confident visual universe.
BMW highlights the idea that freedom means having the power to choose, and this mindset forms the conceptual backbone of the campaign. With three powertrain options, the BMW X1 addresses different driving styles and personal lifestyles. The campaign invites drivers to select the model that best aligns with their values, needs, and individual way of life.
The production was realized on behalf of Christina von Jakubowski of the BMW Group. Creative direction came from Jung von Matt, who have been developing iconic and award-winning brand content for BMW for many years.
In this series, Agnieszka combines her precisely orchestrated lighting with an immediate and authentic atmosphere. The BMW X1 appears both elegant and functional – a vehicle that thrives in the urban environment just as much as in an active, modern lifestyle.
01.12.2025
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