Moving indoors to continue my recent shoot with Shae, I wanted a dark, severe colour palette to complement her makeup and wardrobe, but with a patterned satin backdrop to soften the overall tone. And, although my tiny home studio setup can’t accommodate an opulent full-boudoir setting, the old black leather couch provided an effective alternative set.
The average person might assume that a boudoir shoot is sexual in nature but in my opinion it works best when the images create an intimate and sensual experience rather than an erotic one for both subject and viewer.
Many thanks to Shae (and impromptu lighting tech Benny) for coming out to deepest darkest Surrey for this shoot!
One of the things that inspires me most as a photographer is music – everyone has experienced a virtual time-travel nostalgia trip thanks to some old song on the radio – and lately I’ve found myself mentally returning, again and again, to this image from Black Sabbath’s debut 1970 album:
My neighbourhood isn’t quite as picturesque as this but I’ve always enjoyed walking the trail that runs along the swampy drainage channel behind it. Evidently it reminds me of that iconic album cover and its evocative autumnal imagery never fails to transport me to that place in my mind whenever I need a break from editing photos. I wanted to acknowledge its inspirational effect by creating something similar and Shae was clearly the perfect model for the job (and stay tuned for our studio shoot, also coming soon.)
Having grown up in the late 70s/early 80s, I still remember and love the grainy quality of that era’s images, which were primarily shot on 35 mm film; however when photographers recreate that aesthetic now they tend to do so according to modern digital image standards that eschew the old grainy 35 mm texture, so for this shoot I opted to use the natural lighting effects of sunset (and my beloved lantern prop, which always seems to appear in my outdoor shoots lately) as a means to soften these images and give them a bit of grain.
Massive thanks to Shae (and lighting tech Benny) for helping to bring 1970 back to life!