When athletes push the limit, every muscle, every second is crystal clear—and so is the suit. Alexander ‘Beetle’ Rhind stopped time to show Speedo’s Fastskin in action, capturing the sleekness of the product. With a tight schedule, complex production, and just minutes with the athletes, Beetle turned the challenge into a high-impact visual campaign, earning him a Gold in Photography 2024.

By: Alexander ‘Beetle’ Rhind, Freelance Photographer

The Speedo Fastskin project was one of those commissions you get really excited about working on. The creative was incredibly interesting, and the client and the agency were striving to create something beautiful and engaging, which is a creative photographer’s dream, so I was thrilled to be part of it.

As a photographer, I love working with athletes over models on these types of projects. They train day in and day out to be the best they can be, so their form is always on point, making my job easier as you rarely take a bad shot of them.

There was a clear creative direction to incorporate motion blur into the images to accentuate the athletes’ speed and give the photos a more abstract look. So, because of that, both the agency and I could align on our focus and direction. I probably preferred the more abstract images from a purely artistic point of view, but we had to find a balance for the client as the product was key, and it was essential to show it in its best light.

From a production standpoint, it was a challenging shoot to execute. As is standard when working with professional athletes, we only had them on set for a short time, and our access to the training space was also limited, giving us a narrow window to prep and pre-light the shoot. There was also the added complexity of shooting in and around water, both from a safety point of view and with the very high-powered lights we needed to achieve the shots. In short, it was a perfect storm of shoot challenges, but I am grateful to have had an amazing crew to help with the production as we worked as a well-oiled machine to ensure we were all set for the athletes’ arrival. 

Because of the time constraints and the number of shots we had to get through that day, it wasn’t until after the shoot in the editing process that I was able to digest what we’d shot and be really pleased with the outcome. This is often the case on these types of shoots; there just isn’t time to review as you go, especially if you’re on a stepladder in the middle of an Olympic-size pool!  

On reflection, I think I’ve grown to love this project more and more over time. I’m proud of the outcome and love how we managed to create something striking and impactful that people have engaged with; I often get asked how I achieved it, so it’s a pleasure to explain the process here.

I would love to shoot more commissions and personal projects with a similar feeling, clear creative, and crafted outcome. 

I’m Alexander ‘Beetle’ Rhind (before you ask, it’s an A.A. Milne reference and the name I’ve gone by since birth), and I was raised in rural North Devon between the moor and sea.  

I had a somewhat feral childhood spent mostly outside, which instilled in me a deep love for sports, adventure, and the great outdoors, which has, in turn, undoubtedly informed my photographic style and career trajectory.  

School was a challenge. Convincingly dyslexic, academic work was always a struggle, and written words generally eluded me, so when I was presented with my first camera aged 16, it felt pretty revelatory. I had alighted on something that enabled me to communicate myself in a way I’d not been able to before, a subject I could excel at and take pride in.  

In light of this, I opted for industry experience over studying photography and started work as an assistant fresh out of my foundation course. It is a decision I have never regretted. At times grueling, always educational, I spent six years assisting different photographers, gleaning from them, learning different approaches, and honing my craft. It has stood me in good stead and has meant that I am as comfortable shooting in a studio environment as I am hanging out the back of a van halfway up a mountain.  

I love the collaborative nature of big commercial shoots and also the intimate feel of smaller shoots and self-produced personal projects. Creating a relaxed atmosphere on my sets is vital to me and makes for an enjoyable working environment. 

After many years in London, I eventually found my way back to Devon, where I now live with my wife and three children. Work can take me all over the globe, but West is always best.

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To see more Photography 2024 competition winners, click here.