Before the day at the pool.

A communication presentation filed under 12 February 2015 divides its work into three phases: before, during and after the event. Announcements, press material, web pages and short films are part of the proposal.

These are plans, not verified distribution totals. They show that the intended audience was not limited to people who could stand at the poolside on the day.

People in the crew archive.

Dilan Can and Dominic Szydlik appear in the supplied 2015 crew collection. Their portraits have camera dates in June and August. One image holds a stage atmosphere; the other is a direct outdoor portrait.

They are different pictures, not evidence of the same production. Keeping them in their original forms lets the archive introduce people without inventing a backstage scene or assigning an unverified job.

After the water settles.

The proposal also considers what happens after an event: editing footage and making material available to media. A film being offered for distribution is not the same thing as a confirmed broadcast.

That distinction matters, but so does the underlying intention. A performance ends; a carefully kept image can still introduce the sport to someone who was never there. The original files, the people and the dates give that memory something solid to rest on.

From the crew archive to the athlete portraits of 2015 ↗

In front of and behind the camera.

The camera is part of this year’s story, too. A long lens beside the pool, a photographer in the water, reflections on the dome of an underwater housing: these pictures turn towards the people and equipment behind the photographs. Other views return to the athletes, in black and white with gently brighter tones. The original camera dates are 29 and 30 August 2015. Names follow original filenames, not facial recognition. Individual credits belong to the respective pictures; no blanket Canon or workshop attribution is inferred.