Jewellery Photography at Vicenza Oro 2026: How New Moon Agency Shot High Jewellery on the World's Most Glamorous Stage

Every brand has a moment when it begins to tell its story.

For us, this is that moment.

This is our first article on the New Moon Agency blog - and it feels right to start not with theory, but with a real project. A project that challenged us, inspired us, and reminded us why we do what we do.

In January 2026, we found ourselves in Vicenza, Italy - at one of the most important events in the global jewellery industry. Four intense days, dozens of brands, and countless pieces of high jewellery that demanded to be captured with absolute precision.

This is a behind-the-scenes look at how we shot high jewellery at Vicenza Oro - and what this experience taught us.

We didn't pack lightly. A photographer and a videographer, a full set of professional lighting, a kit bag heavy with lenses, and one very clear mission: document the world of high jewellery at one of its most important annual gatherings. When the opportunity came up to travel to Vicenza Oro 2026 in January, we said yes before we'd even finished reading the brief. Four days in northern Italy, surrounded by some of the most extraordinary pieces ever crafted by human hands - it was not a hard sell.

Rose gold ring at Vicenza Oro 2026 — detail shot from the fair floor.

What Is Vicenza Oro - And Why Does It Matter

If you work anywhere near the jewellery world, Vicenza Oro needs no introduction. For everyone else: it's the world's largest and most important trade fair dedicated to jewellery, goldsmithing, and watchmaking. Held twice a year - January and September - at Fiera di Vicenza in northern Italy, it draws over 1,300 exhibiting brands from nearly 40 countries, and hosts buyers and professionals from more than 145 nations. The January 2026 edition brought together over 560 hosted international buyers - a record number.

The scale alone is staggering. Nine curated "communities" span everything from high jewellery and gemstones to packaging, machinery, vintage watches, and emerging designers. You can walk from a glass case holding a one-of-a-kind diamond necklace worth several lifetimes of rent.

The brands present read like the masthead of Vogue Jewellery. Among the names we encountered: Cammilli Firenze, Roberto Coin, Carrera y Carrera, Schreiner Fine Jewellery and international houses, each presenting new collections and season previews to an audience of global buyers, press, and industry insiders.

One moment that stopped us completely: a display case from Schreiner Fine Jewellery featuring a ring with a yellow diamond that sat in the setting like a drop of frozen sunlight. We both just stood there for a moment. Sometimes you forget what jewellery can actually look like.

Yellow diamond ring by Schreiner Fine Jewellery — one of the pieces that stopped us in our tracks.

Jewellery Photography on the Trade Fair Floor: Lights, Lenses, and Zero Margin for Error

Shooting at a trade fair is nothing like a controlled studio environment. Anyone who tells you otherwise hasn't done it. The challenges at Vicenza Oro were real: pavilion lighting shifts dramatically from hall to hall - some booths blaze with theatrical spotlights designed to make gold sing, others sit under flat exhibition overhead light that drains colour and kills depth. Space is limited. You're working inches from display cases, around other visitors, often with security staff watching to make sure you don't so much as breathe on the pieces.

The brief was also unforgiving on timing. We were there to produce high-end content with influencer and jewellery reviewer Elina Kulda - stills, video, and styled editorial material -all of which needed to be delivered fast. While the camera captured detail and composition, the video lens caught movement, atmosphere, and the kind of behind-the-scenes texture that makes content feel alive. Two disciplines, one shoot, no margin for error.

We came prepared. Our kit included a full professional lighting setup - portable strobes and modifiers that could be deployed and adjusted quickly without drawing too much attention in a crowded pavilion - plus a carefully selected range of lenses suited to both jewellery photography and video work: macro for close detail on stone facets and hallmarks, medium telephoto for environmental context shots, and a fast prime for atmospheric frames with the fair buzzing in the background.

The key discipline we've developed over years of product photography and video production is reading light fast and adjusting on the fly. At Vicenza Oro, that meant sometimes working with existing display lighting as a fill source and layering our own portable strobe as the key - keeping colour temperature consistent across both photo and video output.

The moment that tested us most: a high jewellery piece set with an emerald - a stone that demands precise white balance to render that particular depth of green without tipping into artificial territory. Getting the colour accurate on camera and on video, under mixed pavilion lighting, in a busy hall, in under ten minutes, required some focused problem-solving. We got it.

Between halls at Vicenza Oro — Lena with the video rig, ready for the next setup.

Kateryna on set at Vicenza Oro 2026 - camera and LED light in hand, ready for the next shot.

What Vicenza Oro Taught Us About Jewellery Photography in Austria

The content from Vicenza Oro 2026 is some of the strongest work we've produced. Not because the location was glamorous (though it was), but because the four days forced us to operate at peak efficiency - fast decisions, clean setups, consistent output across both photo and video - while maintaining the visual quality that high jewellery demands.

Working alongside Elina Kulda added a dimension we hadn't fully anticipated. Having an expert voice in the frame - someone who can talk about a piece's craftsmanship, provenance, and stone quality with genuine authority - changes the character of the content entirely. The stills become editorial. The video becomes reference material. It's no longer just beautiful images; it becomes something a serious jewellery buyer or brand would actually want to watch and share.

The experience sharpens skills that directly serve our clients in Austria. Whether we're shooting for a Klagenfurt jeweller launching a new collection, or supporting a brand with product photography international campaigns, the ability to produce consistent, high-quality results under pressure - with no retakes and no studio safety net - is exactly what separates adequate work from genuinely useful content.

Jewellery photography Austria has its own specific demands: Austrian clients tend to prioritise craftsmanship, heritage, and technical precision in their visual communication. Vicenza Oro reinforced that instinct. The best booths at the fair weren't the loudest or the biggest - they were the ones where the photography and display had been thought through with the same care as the jewellery itself.

For Jewellery photography Klagenfurt and beyond, the lesson is the same: you photograph and film jewellery the way it was made - with patience, precision, and real attention to what makes each piece worth looking at.

We came back from Vicenza with full cards, full drives, new industry contacts, and a renewed appreciation for what high jewellery actually represents at its best: extraordinary skill, compressed into something you can hold in your hand.

Elina Kulda with Roberto Coin at Vicenza Oro 2026 — one of those encounters that remind you why you show up.

Want That Level of Quality for Your Brand?

If you're a jeweller, boutique, or brand in Austria - or anywhere else - looking for photography and video content that does justice to what you make, we'd love to talk.

At New Moon Agency Klagenfurt, a photographer and a videographer working in close collaboration, we cover product and jewellery photography, brand video, and editorial content. We shoot in our studio, on location in Austria, and internationally - as Vicenza Oro 2026 proved, we travel well.

We're based in Klagenfurt, but our work doesn't stay there. If you have a collection launch, a trade fair, a campaign, or simply pieces that deserve better images - and better film - than they've been getting, reach out.

New Moon Agency at Vicenza Oro 2026 — Lena and Kateryna on location with their full production kit.