Telkomsel Image Bank 2023: Prabayar

Every image bank has a starting point, a lesson learned from what came before. For Telkomsel Prabayar, that lesson was clear: the previous stock library, while solid, needed more range. More angles, more energy, more faces that actually reflected the audience buying the product.

So we rebuilt from the ground up. Casting widened deliberately, pulling in talent across genders and age groups, students included, because Prabayar isn't sold to one type of person. It's sold to everyone tapping a phone screen, checking a balance, waiting for a voucher to land. Wardrobe followed the same logic: casual pieces mixed with hijab styling, seasonal touches for Ramadan, everyday looks that felt lived-in rather than styled within an inch of their life.

The visual language leaned playful and lively, dynamic angles shot handheld to keep the energy loose and spontaneous, front views, side views, the occasional tilt from slightly above or below to break the monotony of straight-on portraiture. Distortion, where it appeared, was intentional. A hand reaching toward the lens, a body caught mid-motion, the kind of framing that makes a static image feel like it's still moving.

Lighting carried the same spirit. Bright, high contrast, colors pushed vivid enough to hold their own against bold gradient backgrounds in orange, pink, and purple, the exact palette "Rezeki Sakti" needed to pop across every placement it would eventually live on. Limbo sets kept things clean and flexible, while desk and lounge setups gave certain gestures, writing, video calls, studying together, a more grounded, narrative feel.

And then there was "SERU." Not a single shot but a mandate: capture the feeling of fun in a group, several talents in frame together, energy bouncing between them rather than isolated in a single portrait. Group shots are harder to direct than solo ones. Timing has to align across multiple people, multiple expressions, multiple small movements happening at once. But when it lands, it captures something a single portrait never could, the actual texture of people enjoying each other's company.

By the end, what we had wasn't just an update to an old library. It was a fuller, more honest reflection of who actually uses Prabayar, built frame by frame to carry the brand's content across an entire year.

Nurulita Adriani
Advertising photographer of HIRA Imaji, Jakarta.