All images by Michel Leroy. Used with permission.

“It took months of experimenting with different techniques and combinations of digital and film equipment to achieve this unique in-camera look,” photographer Michel Leroy tells us about his series Alchemy. “It is the combination of gear and lighting that gives the skin the unique dark metallic look not body paint or Photoshop.” Tonight, Michel is unveiling the project to the public at a gallery opening in NYC. Michel is a commercial photographer these days, after a previous life as a photojournalist. So when it came to Alchemy, Michel was all about creating a series of images that helped him with his experiments. He wanted to explore a single idea in depth. So he went about collaborating with a number of athletes and experimenting to get this look all in-camera with no photoshop.

Phoblographer: Talk to us about how you got into photography.

Michel: I’ve been into photography since high school when I fell in love with the language of the visual storytelling. I followed that up with a BFA in Photography from the University of Dayton and worked as a student for the UD Public Relations department and the Dayton Daily News to help pay my way through college.

Phoblographer: What made you want to get into commercial portraiture?

Michel: I am a people person, I always have been. After graduating I moved to New York City because this town rewards talent and initiative more than any other place I know. I made cold calls, wrote letters and scheduled meetings until I got assisting gigs. Living in NYC and being relentless allowed me to assist legendary photographers and learn everything I could about commercial photography at the highest level. I worked my way up from coffee-runner to 1st assistant and had the opportunity to travel the globe on assignments photographing the people that define our time: from A-listers in Los Angeles to industrialists in Shanghai, Nobel laureates in Paris, professional athletes in Tokyo and former Presidents George W. Bush and Bill Clinton. When I stopped assisting I had a global network of colleagues and peers that have lasted my entire professional life.

Phoblographer: This project is called Alchemy. What inspired the name?

Michel: The name is based on the idea of transforming or combining elements into something new. I have photographed so many athletes and know how they move with a body-awareness and confidence that transcends the average. I also wanted to create body-positive images that are inclusive of size and diversity, images that unite and celebrate a range of athletes. The result is something magical in a way that transcends photography and looks sculptural, Alchemy seemed perfect.

Phoblographer: For Alchemy, you specifically went for black and white. Why?

Michel: I love black and white and have since I started shooting. My commercial portfolio is filled with B&W and I think it reveals texture and detail that captivates the viewer. The Alchemy series strips the image to its bare elements – light and shadow, form and gesture.

Phoblographer: Where did the inspiration for this series come from and what do you feel like you’re expressing?

Sports Advertising photo by Michel Leroy PHOTOGRAPHER

Michel: Inspiration for the Alchemy series came from my personal desire to create a body of work that explores a single idea in great depth. My commercial work results in amazing images but rarely do I get to keep exploring a subject for more than a day or a week at most. I’ve been shooting this series for over a year and the creative challenge of pushing myself to innovate each time I shoot within a narrow set of self-imposed parameters is exhilarating.

Phoblographer: This project features athletes in a whole lot of wide, full body images but then it gets pretty close in focusing on abstract parts. When it came to the creative thought process, were you more motivated by trying to create shapes in a playful way or really just focusing in on the parts of a whol...

Lomography isn’t a company that should be disregarded; they’ve got some fantastic films.

While some photographers look at Lomography as a reseller due to their rebadging of certain film emulsions, I don’t think that one can question just how much they’ve done for the analog film photography movement. The company that used to be branded as just a Hipster camera organization has grown and matured over the years into something else–creating many of their own unique lenses and taking advantage of just how well Instax does. If you’re looking for something sustainable and yet very good, you should consider their films.

Lomography Lomochrome Purple

By far the most unique film emulsion on the market right now, LomoChrome Purple can give you results that are fantastic, trippy, and that aren’t easily created in digital photography. It is by far their best film.

In our review we state:

“I really, really like the new Lomography LomoChrome Purple film emulsion. It’s easier to work with and it can render some truthfully beautiful moments. Plus with the way that it works with colors, it can simply just be fine to work with. I strongly recommend that every photographer give it a try to get a look totally different from everything you’ve shot digitally. I’m going to eventually purchase more and use it with a graduated ND filter of some sort.”

Buy Now: Lomography

Sample Images

Lomography Color Negative 100

With Lomography Color Negative 100, you should know that Kodak makes the film for the company. It’s an alternative film from much of the more professional emulsions out there. But it also looks really nice in both 35mm and 120.

In our review we state:

“‘It’s Kodak Gold,’ I’m often told by Lomography reps about Lomography Color Negative 100. The film is one of the offerings from Lomography that is also a more affordable option at times in both 35mm and 120. Now, some folks may scoff at the idea of shooting Kodak Gold since for years, it was designed for being shot by just consumers. But in truth, it’s capable of delivering some seriously lovely colors. To that end, so too is Lomography Color Negative 100. At times, I genuinely feel like Lomography Color Negative 100 sometimes just intensifies whatever scene is just in front of you. But either way, if you’re looking for a low ISO alternative because you don’t like Kodak Ektar’s colors, then Lomography Color Negative 100 is a very viable option.”

Buy Now: Amazon

Sample Images

Lomography Color Negative 400

With Lomography Color Negative 400, you get yet another Kodak emulsion but rebranded. Arguably, this is the film that I like more than 100 speed. In some situations, I like it even more than Portra 400.

In our review we state:

“In the right situations, there are times when I personally feel like it outdoes Kodak Portra 400 or at least proves to be a worthy alternative to both Kodak Portra 400 and Fujifilm Pro 400H. For those of you who consider yourselves to be penny pinchers, Lomography Lomography Color Negative 400 is often more affordable than the other two options on the market. And like the other options, it’s much more preferable to shoot it in 120 format vs 35mm.”

Buy Now: Amazon

Sample Images

Lomography Color Negative 800

For a color 800 ISO film, Lomography Color Negative 800 does a great job. The images that you’ll get will seem a bit more new school that Kodak’s Portra 800; but you’ll still enjoy them.

In our review we state:

“Something that I’m really amazed at with Lomography Color Negative 800 is that it handles tungsten interior lighting and mixed lighting situations very well; perhaps even better than some digital cameras can. Here are a number of image samples shot over the years.”

Buy Now: Amazon

Sample Images

Lomography Earl Grey 100

One of the reasons why I really like Lomography Earl Grey 100 is because when it is pushed to ISO 400, it becomes even nicer looking. The film takes on deep, inky blacks.

In our review we state:

“Speaking from a tonality standpoint, Lomography...

Though the Canon RF 28-70mm f2 L USM is a monster lens, it’s arguably the best full-frame zoom on the market.

When I first laid eyes on the Canon RF 28-70mm f2 L USM, I wrote it off in my head. It’s a monster in size, but when use it for a long time, you begin to realize that it’s manageable. There is no image stabilization, and that will be a problem for many newer photographers. However, the lens has a lot of strengths. Besides being built like Brock Lesner in his prime, it has some of the best sharpness we’ve ever seen from a zoom. Couple this with the f2 aperture throughout the entire range, and you’ve got something unique in the market. This is part of what Canon is doing to survive, and though everyone gives Canon a lot of grief for recycling older camera sensors, I believe their lenses are the best on the market. Of course, this is reflected in the price.

Editor’s Note: You’re probably wondering why this review is so late. It would have been published four months ago if it weren’t for a hard drive that crashed and delayed a lot of our reviews. The Canon 28-70mm f2 L USM is one of those products. We should also be transparent in saying that Canon paid for a sponsored post about the lens a while back. Some of the images in this review were shot for that post. But, we still are maintaining our 100% editorial integrity with this full review.

Pros and Cons

Pros

Beautiful image quality

Very sharp

The fastest full-frame zoom lens with a practical range on the market

Weather sealing

Built incredibly well

It got even better with the latest firmware update

Cons

It’s large

It’s heavy

It’s just under $3,000

Gear Used

We tested the Canon RF 28-70mm f2 L USM with the:

Canon EOS R

Profoto B10

Canon RF 28-70mm F2 L USM Tech Specs

Specs are taken from the Adorama Listing:

Bright, Constant f/2.0 Zoom Lens

L-series Lens with High Image Quality

Control Ring for Direct Setting Changes

12 pin Communication System

Dust- and Water-resistant with Fluorine Coating

Air Sphere Coating (ASC) Minimizes Lens Flare and Ghosting

Two UD Elements and One Super UD Element

Lens Mount: Lens Mount: Canon EOS RF

Fixed Mirrorless FL: Focal Length: All Zooms

Mirrorless: Zoom: Focal Length: 28-70mm

Lens Format: Lens Format: Full-Frame

Maximum Aperture: Maximum Aperture: f/2

Lens Type: Wide Angle To Standard Zoom Lens

Special Features: Weather Resistant

Image Stabilization: Image Stabilization: No

Filter Size: Focal Length: 95mm

Ergonomics

The Canon RF 28-70mm f2 L USM has a massive 95mm filter thread on the front. It’s the largest I’ve seen in a long time. But when you have innovation like this, it’s understandable.

With the Canon 28-70mm f2 L USM, you get a lens with three rings. At the front, near the trademarked Canon Red L ring, is the multi-function ring. I set this to aperture control. Behind that is the focusing ring. And all the way toward the back is the zoom ring.

On the left side is an AF/MF switch. On the opposite side is the zoom lock. It only locks at 24mm, though I wish it locked at various focal lengths.

The Canon 28-70mm f2 L USM is already a big lens. But we’re glad to note that when zoomed in, it doesn’t get that much larger at all. That’s nice!

Build Quality

During our testing, we took the Canon RF 28-70mm f2 L USM into the rain more than a few times. It survived; we were able to return the lens back to Canon in perfectly working condition. Canon has weather-sealed this lens quite well. Photographers who bring it out into sandy conditions and even the rain won’t have any issues with the Canon RF 28-70mm f2 L USM’s build quality. To that end, it means that if you’re photographing a party and someone spills beer or wine on the lens, you theoretically should be okay (but, I’d still exercise caution).

Considering how mammoth this lens is, it undoubtedly had better be weather sealed. If I didn’t mention it enough, the Canon 28-70mm f2 L USM is big. It eventually grew on me, but when I then pick up my Sony cameras and Fujifilm cameras with their...

Experience boudoir photography tutorials through the female gaze.

Boudoir photography can be a whole lot of fun, both for the model and the photographer. But those elegant, attractive, and sensual photos are not easy to achieve, especially if you’re working with non-models. You need plenty of knowledge to do it, and even more if you want to do it well. Because most boudoir subjects are female, we wanted to put this piece together from the female photographers’ perspective. Because, after all, who knows about women’s bodies better than women themselves? Check out these women doing boudoir photography tutorials on YouTube.

Boudoir Photography on YouTube

To help convey the technique involved in boudoir photography, we’re turning to YouTube. We’ve selected five videos, all created by women photographers, that will take you from knowing nothing about boudoir photography to getting ready for your first shoot (or improving on your current experience).

1. Yuliya Panchenko Photography

Yuliya Panchenko is an award-winning photographer from Baku, Azerbaijan. Her video with boudoir photography tutorials is perfect for those who prefer long-form tutorials. Instead of uploading snippy tips and tricks, Panchenko published a full 45-minute shoot. Taking you from setting the scene and keeping your model engaged to poses and lighting, there’s no detail left untouched in this boudoir photography video.

2. TheSnapChick

Because boudoir photography exposes much of the body, it can often leave a subject feeling vulnerable. Because of this, many who wish to have a boudoir shoot (including female photographers) don’t due to the nerves that come with it. But there’s a perfect solution – self-portraits. There are many photographers offering boudoir photography tutorials on the subject. However, we rewound way back to 2015 to find this video by TheSnapChick. It’s more of a listen rather than a watch, but the detail is so great and well explained that you will know exactly how to turn the camera on yourself should you wish.

3. Critsey Rowe

The great thing about Critsey Rowe is she understands how women feel in front of the camera, especially if they’re not experienced. Rowe writes, “So many women say the same thing – that they are worried they won’t look sexy but will end up looking awkward.” And she knows it’s her job to help them overcome that – and it will be your job too. In the video below, Rowe aims at the true beginner. Those who are curious about getting into the genre, but are unsure how. If you’ve been shooting already, this one’s not for you. But if you are desperate to take your first step into boudoir photography, hit the play button now!

4. The High Rollers Club (THRC)

We selected this video from THRC, not because of the technical aspect, but the business one. Many photographers are either doing it as a hobby or as a side gig. It takes a lot of work to make it your full-time hustle. You don’t just quit your job and say, “I’m a photographer now.” You have to build your business, and you have to have the know-how. In this video, two women photographers discuss the path taken from doing the 9-5 to working your dream. It’s very interesting and totally inspiring!

5. Elizabeth Clem

Elizabeth Clem is a boudoir photographer who travels the world. We enjoyed the BTS video as it focused on the importance of having a good location for your boudoir shoot. Take note of how Clem interacts with her subject. She’s extremely patient, shows how to pose, and has empathy. When people are vulnerable, having empathy as the photographer is one of the most important skills. Clem is a master of it. Learn it, and become one too!

Your Favorite Women Shooting Boudoir Photography

We know you’ll enjoy the five videos we’ve shared. Who do you like to get your education from when browsing boudoir shoots on YouTube. We would love to see your suggestions, and so would the rest of our readers!

Lead image is a screenshot.

All images by Chantal Convertini. Used with permission.

“I don’t like these overly perfect fashion images that are as pretty as they are empty.” That’s the thought of Chantal Convertini. She adds, “shooting self-portraits is a form of self-acceptance and self-love.” She gives her audience a raw, straight out of camera view of her world with film photography that is gentle, but also has a powerful message – we’re human, we’re different, and that’s okay. In her portfolio, a mix of portraits and self-portraits, we see women wanting to connect to themselves, not to the self that society tells them to connect to. We find this truly inspiring and we adore the beautiful results that come from this creative approach.

Alongside being a great photographer, Chantal has a strong business brain – something all photographers need in 2019. In our conversation, we discuss how she has made her art a form of income and she also gives us a peek into her creative world.

Phoblographer: Hey Chantal! You’re an analog photographer. What made you go down this route rather than digital?

CC: Well, the interesting thing is that I came from the other way around. Digital was the new invention of the 21th century and as everyone got excited over it for it’s obvious advantages I grew up digitally and til I turned 23 I’ve never had a roll of film in my hand consciously. So for me it was a new discovery. And to this day I love film for many reasons. I adore the look, that’s the first thing and also what I love about the process is that you shoot something „real“. I love that film is tangible and that you have to wait for the images. Every time I’m excited to get back a film and it’s like a present you give yourself. And you can’t even cheat.

But here I have to add, that I do also shoot digital. I like that I create with different media in photography and that I can choose them for what fits the situation. I learned using them as a perfect adaptation to what I want to do while shooting and also convey in the imagery. I choose digital for experimenting with a lot of time and for all client work and special occasions and events.

“I’m proud of finally having my own vision of myself.”

Phoblographer: You take a lot of self-portraits. We imagine that can be tricky when using film. What’s your process to ensure you get it right?

CC: You don’t get it right most of the time. I know how to meter light and I try my best to get the focus right where I will be in the end of the picture (placing something there first helps). But apart from that shooting self-portraits on film is try and error. And more error than try. But the beautiful thing about it is, that if you really got it, then it was worth all the trouble.

Phoblographer: We’re genuinely curious about your series “a feminine view of feminity”. In your words, how do you feel about feminity and what was your approach to communicating that through your images?

CC: The title comes from a thought that women had been muses to male artist for centuries and that I’m proud of finally having my own vision of myself and also a different vision on a woman as one myself. I know the circumstances changed a lot in the last 100 years and I’m not new to this movement, but I’m still proud to have figured that out also for myself and not only out of history books and out of others minds and thoughts. It’s just a very non-sexualized view on something that had been so highly sexualized in general and I want to show that.

Phoblographer: A lot of your work is has a dark, slightly underexposed vibe. What do you feel this says about you as an artist?

CC: My journey in photography started with a heartbreak. That deeply impacted my imagery. And it’s still there in one or the other work. And also, I like film a little underexposed.

“I want to make a book of my work. It’s gonna be called “God is a woman“ .”

Phoblographer: You have a Pateron page. For those who don’t know, can you explain what it is and how it benefits you as a photographer?

C...

All images by Allan Teger. Used with permission.

“They see what happens in our mind as we experience a shift in perspective,” explains Allan Teger as he discusses the impact his photos have on his viewers. He adds, “that is the most important part of my work.” His photographs certainly do make you question what you’re seeing. Combining humanity with still life, Teger has amassed a body of work that removes itself from the status quo. Our readers know we love work that goes against the norm. And it felt nothing but natural to invite Teger to speak with us to talk about a series that’s lasted over 45 years.

Phoblographer: When you first pitched the BODYSCAPES concept to a model, what was the reaction?

Allan Teger: When I first got the idea of shooting photos of small toys on a nude body, in 1976, I had no samples to show anyone. I tried to explain what I was planning, but it was difficult to convey the images that I had in mind. A friend connected me with a friend of his, and she agreed to model. Her only requirement was that we begin by shooting something that didn’t require her to take her clothes off, and we start with something where she could see what I was doing. “Fair enough,” I said.

The first shoot was with a miniature lady, sitting on her fingertip. The second was of mountain climbers on her nose, and finally fishing in the navel. All of which required no removal of clothes. The first shoot went well!

Phoblographer: Your background is in psychology. How has that influenced the way you approach your art?

Allan Teger: My Bodyscapes came directly out of my background in psychology. I was teaching courses in the psychology of consciousness, meditation, and eastern philosophy.

I was especially influenced by the books by Carlos Castenada, where an anthropologist became the apprentice of a native sorcerer – or shaman – in Mexico. He was taught to move between two different realities – our normal reality and a higher consciousness – where the rules of reality were different. I wanted to show through art that there could be multiple realities existing together.

One way to do that would be to show that two different interpretations could exist simultaneously. I thought about this for many months. I had set up my old model railroad for my children, and among the pieces were some very small HO scale skiers, about 3/4 inch tall. It occurred to me that I could place these small skiers on a woman’s breast, and I could create the illusion of a real ski slope. That was it – I knew at once that I had an entire body of work waiting for me to explore.

Phoblographer: At what stage of the work did you realize it wouldn’t be just a short term gig but rather a career-long body of work?

Allan Teger: It didn’t occur to me that this would be my life’s work, but it was immediately obvious that many images would unfold in this project! It was exciting. I felt that I had found a way to make my statement, and I had found something new!

Phoblographer: Any new project creates an initial buzz and infatuation within the photographer. Fast forward to the present time, how strong is your buzz for Bodyscapes today?

Allan Teger: After two books, hundreds of images, and many sales, publications and awards, I still enjoy the Bodyscape project. Some of the new work involves reshooting and improving old images. Sometimes I have a new idea for a group of images, such as the zodiac series. I use two models together, and the bodySTOCKINGscapes where the model wears a body stocking and I shoot in color.

I have plans for several other new variations of the Bodyscape theme. I feel that this body of work is unique and that I have developed a very distinctive style that can continue to expand. The quest to produce art that enables the viewer to expand their consciousness is still a driving force in my work. However, there are times when I do need to express something, but it doesn’t really work in the Bodyscape format. For that, I have a new body of work, ‘metaphors...

Reka Nyari focuses on the art of tattoo and the different stories they map on the female form without the highly sexualized approach to nudity.

The female form has long been the subject of art, photography, and many other creative pursuits. But there’s more to female nudity than the highly erotic imagery typically associated with it. We see the work of Reka Nyari as perfect examples of this, in the way she captures the stories intricately inked on her subjects’ bodies. Captivating, raw, and highly creative, her photos celebrate both the beauty of the female form and how her subjects themselves have taken to artful tattoos to transform themselves or immortalize their personal stories.

We had a brief chat with the Finnish-Hungarian artist and photographer ahead of her solo show in New York City to dig a little deeper into her motivations, creative style, and inspiration for her work.

Phoblographer: Hello Reka! Can you tell us something about yourself and what you do?

Reka Nyari: I’m a Finnish Hungarian artist, based in NYC. I work predominantly with photography.

Phoblographer: How did you get into photography and discover the kind of imagery that you make now?

Nyari: I wanted to be an artist since I can remember. I was studying painting at SVA, and created these large, photorealistic oil paintings. Since my models couldn’t sit for me for hundreds of hours, I ended up taking lots of photos as a reference, and really loving it. When I graduated and lost my studio, I continued shooting with the intention of painting my photos at a later date. It all changed when a rather successful photographer friend saw my photos, and asked me why I was painting my photos.. they were powerful in their own right. That changed everything. Like so many female artists, I started shooting these edgy, raw, black and white self-portraits. Although I shoot variety of subjects, I always end up coming back to capturing the female soul and body.

Phoblographer: Please tell us more about your work on tattooed women. What led you to put your focus on them and photograph them the way you have?

Nyari: I have always been fascinated by the way our bodies tell stories. Our walk, our scars, posture, and gaze. Our experiences make us who we are, and often the harder those experiences, the more interesting we become. Tattoos are often a visible life story, written on the body in ink. People I shoot do not view them as mistakes or regrets, but as visible markers of life lived, obstacles they have overcome. I love the way my subjects have taken charge of their lives, and literally transformed themselves into who they want to become.

Phoblographer: Women and nudity have almost always been put together with a highly sexualized context. How do you make sure that your work brings something new in terms of depicting sexuality and the female body as an art form?

Nyari: I grew up in Finland (the land of the Sauna), so for me nudity and sexuality are two very different things. It’s highly limiting that nude female bodies are always sexualized. It’s important to me that my work portrays a woman that’s comfortable in her skin, not hiding or covering, but also not overly flirtatious. She simply is; unapologetic and aware of her power.

Phoblographer: What do you think is the most common misconception about the visual style and subjects that you tackle? How do you address this?

Nyari: People sometimes refer to me as an erotic photographer, which could not be further from the truth. This again boils down to the misconception that nudity must equal to sex.

It’s a difficult argument, especially here in America, where a nipple seems to be worse than violence and guns. The female body is such a taboo. As an artist I always make sure that my work comes with a strong artist’s statement. Most people do see that although my work portrays a sexually liberated woman, the work is not erotic. Most of my collectors are women, which is a huge compliment.

Phoblographer: Where do you draw inspira...

All images by Sudhir Ramman. Used with permission.

“Many people find this incredibly difficult because it involves fully creating a scene and not just capturing it,” explains Sudhir Ramman. Indeed, Sudhir is a bright star shining at night while you’re at sea. You can’t help but not stare at his work. And a part of it is because he’s actually, truly creative. There isn’t a whole lot like the work he produces. He’s into concepts and not gear. However, Photoshop and Lightroom are very important to Sudhir. So too is natural light!

The Essential Gear of Sudhir Ramman

Canon 5D Mk IV

Sigma 35mm f1.4 Art

Sigma 24-70mm f2.8 Art

To be honest, I don’t own a lot of gear. I shoot with a Canon 5d Mark IV and a 35mm f1.4 sigma art lens. All I need is a full-frame camera and a lens that allows me to capture the depth of field just how I want it. This ensures I shoot the images in high quality to ensure they are suited for cropping and prints. Sporadically I use a 24-70mm sigma art lens for shooting from a wide-angle. In terms of lighting, I use daylight. Editing is an integral part of my style, and my programs of choice are Lightroom and Photoshop. They allow me to break through the boundaries of color and contrast to create the right atmosphere. It’s part of my signature. The creative process kicks off when I combine these elements with models and props. My gear is only a small part of the bigger picture, and I really believe you don’t have to spend a fortune to make great work. Before I got a studio, I used to shoot at home or in random hotel rooms.

It’s forced me to learn to find the right spot, right angle, and right light in a shoot very quickly. Assessing and anticipating the situation quickly still helps me to this day in all my shoots.

Talk to us about how you got into photography.

About four years ago, I bought my first camera, a Canon 750d. I had no idea how it worked or what I going to do with it. I did know that I wanted to capture people differently, deviating from the standard. Standard is boring. So is standard training, so instead of getting a formal education, I watched tutorials and taught myself via trial and error. After my first shoot, I uploaded the images to Lightroom and was immediately hooked to photography and editing. I still had an office job at the time but started shooting every weekend and edited every night after work. All my free time was devoted to photography. ‘Good’ is never enough; I was dedicated to becoming better and better. Two months after my first shoot, I bought my first full-frame camera, a Canon 6D, and a 35mm f1.4 Sigma art lens. Things took off from there.

What made you want to get into portraiture?

When I started, I instantly knew I wanted to photograph people. People are all different but alike at the same time. Anomalies versus similarities. That’s what makes this an interesting subject to me. I always try to capture people as I see them.

So how did you get into conceptual portraiture?

Many people find this incredibly difficult because it involves fully creating a scene and not just capturing it. Like every creative, my work evolves over time. I first started off doing more basic black and white portraits, and I quickly realized I had to challenge myself more. With every shoot, I started adding elements that made the result more interesting to me. This evolved into dreaming up entire concepts, stories, and settings. The aim is to tell a story through photography.

Where are you drawing your ideas and inspiration from? I feel like when I look at your work, you’re approaching it like the entire thing is your canvas to paint on.

I have always been drawn to the cinema. The art of visual storytelling through emotions, sets, lighting techniques, and color grading is a very noticeable influence in my work. Much in my own way, I use these techniques in my photography to create my own worlds. Each image I produce feels cinematic. Every aspect of the visuals is deliberate. Each model plays a specific...

All images by Joshua Going. Used with permission.

Photographer Joshua Going was born and raised in Saco, Maine. At 19, Joshua moved to San Francisco, California to pursue his Photography degree. He shoots a number of styles with Lifestyle photography being some of the more eye catching works that he produces. Josh now lives in Brooklyn after getting his Associate’s degree–one of the perfect places to try to be outside of his comfort zone.

In fact, Josh thrives on being in situations like that. He loves exploring new places, interacting with new people, and looks at it all as a challenge. Part of this is why I was so intrigued by his work featuring fine art nude portraits out in nature.

You see, Josh had body issues and embraced photography as a way of expressing himself.

Phoblographer: Talk to us about how you got into photography.

Joshua: I had a really hard time finding my artistic medium. I always felt like a creative person but couldn’t find anything that really held my interest. I’ve only been shooting for about 5 years now. Right after I graduated high school I got a little point and shoot camera as a gift. My friends and I goofed around with it one day and did a little photoshoot. I was immediately hooked. Soon after I bought my first DSLR and just kept shooting. It felt so natural to me.

Phoblographer: What made you want to get into fine art nude portraiture?

Joshua: For a very long time I suffered from really bad body issues. Growing up, I had a really hard time. I was extremely overweight and super uncomfortable with my sexuality. Taking these nude photos have been a way for me to express myself in a way I was never in the past comfortable with. It allows for me, in a way, to completely expose myself. On the other side though, now as a young adult who’s very comfortable in my own skin, these photos are a celebration of body and soul. I think the human body is such a beautiful thing. It should be celebrated no matter what shape or size.

Phoblographer: Where do you typically draw inspiration from? Lots of your work features people in fields or in nature. So how does this effectively communicate the creative vision, message and intent that you had when planning the image?

Joshua: I get a lot inspiration from childhood depression and insecurity as i said earlier. I like to play around with the idea of complete exposure in very public atmospheres. It’s about challenging ones comfort level and passing through inner boundaries. The environment also talks about insecurity. You’re completely exposed and there is truly no way to hide yourself.

Phoblographer: A lot of your images are contrasty with appropriate levels of fade, so how do you feel this look helps to get across the specific feeling you’re trying to evoke from a viewer?

Joshua: I like to make my photos over the top moody. I think the visuals add to the story the image is telling. It’s more of just a personal style that I like in my work.

Phoblographer: Most of your work is sepia or black and white. But when you use color, it seems like you’re very much about minimal use of it. Why?

Joshua: I think it honestly all depends on what I’m shooting. A lot of my commercial work is extremely saturated and popping with color. For these nudes I feel like color doesn’t play an important part. On top of that, I think that the black and white, sepia, or muted colors really add to the feeling of isolation and insecurity.

Phoblographer: How do you communicate your ideas to your models? Do you storyboard? What are the shoots typically like?

Joshua: It can definitely be challenging to find models who are willing to be naked in front of a camera. When you do find people its very important to make them feel comfortable. I’m never demanding with my models, I always ask what they are ok with and what they are not. I really not much of a storyboarded. I prefer to just jump into an environment and go with whats around me. I’d like to think shoots with me are fun! I’m a very fast shooter...

All boudoir photography by Yolandi Jacobsz. Used with permission.

To better understand the psychology between a professional and their client, we spoke to boudoir photographer Yolandi Jacobsz. Boudoir photography is an extremely delicate genre. Most of the clients who walk into a photographer’s studio are women. They may bring with them a mixture of emotions and insecurities. A boudoir shoot is an opportunity for the subject to be born into or reinforce confidence. Because it’s so vulnerable, it takes a skilled pro to help a subject truly become themselves.

Phoblographer: Out of all the genres, what attracted you most to shooting boudoir photography?

Yolandi Jacobsz: It’s an extremely personal and intimate shoot, and you get to hear every woman’s story through her boudoir session with you. Even though I remain professional, the conversation kept throughout makes my client and I find things we in common, helping us build rapport. And this seems to boost some internal muchness for them to showcase their femininity in such a special way, and I get to document that in the most beautiful visual way.

I’ve always liked it because it’s not a one-way shoot. You need them to open up a little, and you also have to show off who you are with each shoot.

Phoblographer: From a gear standpoint, what essentials do you need to work to the best of your ability?

Yolandi Jacobsz: For me, this a unique question to answer, as in recent years, I have gone back to the studio feel for my boudoir shoots. Boudoir can be done anywhere, from hotel rooms to clients’ own homes. Using a minimal background and only studio lighting, I found they make for a moody feel, something I’ve come to love.

Even though I have done dozens of shoots on location in my 12 years as a pro photographer, the studio offers two great advantages for me. It’s superbly flattering, as you can manipulate the light to showcase only certain parts and have the rest fall in shadow.

So I love my semi-dark, grey paper background that I bought a few years ago. It’s easy to darken with lighting, and it’s easy to change its color as well. For lighting, I have an old Bowens kit and usually only work with one light – either a long strip softbox or an octa. One thing I do love is a reflector, which I use on the opposite side of the light, standing on a reflector holder.

I guess specific gear is important, but I have used many different lighting brands and even cameras and lenses in my studio. If you have good studio knowledge on where shadows and highlights will fall, you’ll be able to make good studio boudoir photographs.

Yolandi Jacobsz

“I get to hear a little bit about their insecurities, as each and every woman has them, so you have to work with those, tactfully and sensitively.”

Phoblographer: You mainly work with private clients. What do you like to know about them prior to a shoot that helps you get best prepared for the shoot?

Yolandi Jacobsz: Most clients, even though not all, are brides-to-be, and their product will be used for their wedding gift to their husbands. But many women just want the experience of something sexy, different, and fierce, as everyday life doesn’t always give us those cool feelings every second of the day. So I like to hear what their expectations are, and if they have any ideas themselves. We talk about hair and makeup options as this comes highly recommended. I get to hear a little bit about their insecurities, as each and every woman has them, so you have to work with those, tactfully and sensitively.

Even though you are the professional, you can’t see only your creative vision; you’ll detach from and alienate your client. On the day, most of the shoot flows organically, as they lay their outfits out and mention to you their favorites. Also, having casual conversations with them strengthens an unspoken bond, which makes for an awesome and unforgettable shoot. It’s not the type of genre for a shy, withdrawn type of photographer who only ever wants to be incons...