sarah @marzipanned

Elements - Sarah

Members only content: - 44 high resolution image with photographic notes including workflow explaining how shots were achieved.

Featuring touring art model Sarah.

This shoot was down at my favourite coastal Sydney location. I know the light here well and it’s varied from soft reflective through to strong backlight and low angled sunset lighting. Sarah had expressed a desire to concentrate on her portrait modelling and these images show her versatility and skill with expressive portraiture. We only shot from 3pm to 5pm and that included half an hour or more of walking so I’m amazed at how many great images there are. Always a sign of a great model…

Read and see more in the members area:

Behind the Veil

These four images are a preview of some wonderful photographs coming soon. The model is Sarah (@marzipanned) and the shoot was last Friday out at my usual location on the coastline of Sydney. On the topic of locations, I have a new place now which am keen to try. A number of people now shoot at this spot, even to the point of using the same light motifs I discovered here. Time to move on.

Sarah has been keen to try more portrait work, and so that’s what we did. Nothing different for me, but this kind of work can be difficult for many models, especially those working in the so called ‘art nude’ space. I always applaud models like Sarah who are willing to do this. It isn’t easy modelling-wise. The model needs to drop their veil for the shots I take. In many (most) modelling situations, the model keeps something of themselves, their ‘self’ if you like, behind that veil. I understand completely why that’s necessary and it’s why I respect people like Sarah immensely, for allowing me to see something of them that they don’t normally show. I wrote more about this in a previous post.

Emotive Portraiture

Just a note on this term. I’ve stopped using it to describe my work as lately I’ve seen numerous images labelled as ‘emotive portraits’ - and in my opinion they are not emotive, at all. They’re usually obsessed with the glamour of the situation and what is ‘seen’, rather than what is felt.


The images were shot with my Pentax 67 and 105mm f2.4 lens, and a Nikon F100 with straight 50. I have two Pentax bodies, each with a lens attached. This allows me shoot a continuous burst of 20 images, rather than 10. Usually, my best images come from a ‘sequence’, where things are working, I’m seeing everything in place, intuition, through the viewfinder. To stop midstream and reload, kills that flow, which is one of the necessary ingredients to how I achieve my images. I’ll talk more about my workflow in a future article.

The film used was a mix of expired Portra 160 (2010), Portra 400 and Fuji 400H. Processing was done in the sink as usual, using Tetenal solution. Post processing was done in Photoshop, and there wasn’t much work done there really.

I hope you enjoy these images, there are many more to come as I still haven’t finished developing the film, of which there were 8 rolls in total (80 shots). There are digital images too.