Header photo: Dark Fashion - Final Composite by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

JonC is a part-time photographer based in Essex, United Kingdom, who has shared many of his shoots with the PurplePort community. He has appeared once before in our SHARE A SHOOT series in 2024 with his fantastic studio shoot with model Chala Figue at Shutter House Studios LTD. 

After sharing three of his shoots (taken once again at Shutter House Studios LTD, but this time featuring models Irida, Rebecca Tun and Birgit Lechner and MUAs (not on PurplePort) Sadie and Saphron), Jon generously gave us his time for a quick interview, where he shared how these fabulous sets of images were created, the inspirations behind each shoot and how they were planned, the camera gear he used, and much more.

Root Fairy II by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Birgit Lechner taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Birgit Lechner taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

SHARE A SHOOT with JonC

How did you come up with the concepts? Did anything inspire you?

Although I am still doing quite a bit of trade (TFP) work and more 'relaxed' portrait and fashion shoots, I am increasingly focusing on more planned and styled shoots, with hopefully higher production values.  My inspiration comes from various sources, including art history, contemporary photographic practice, and playing with ideas.

This is a selection of my last three such shoots (one with two looks). One shoot was inspired by a classic photograph from 1960, and the other three with a more fantasy jumping-off point. I have included the original moodboards, a sample lighting diagram and some resultant images (in a couple of cases, both straight out of the camera and finished composite of the final shoot) to hopefully give some insight into my approach and maybe to provide some inspiration to others.

I hope you like the finished products, and I also hope this might inspire you to go on your own journey of creative discovery. I would like to thank Irida, Rebecca Tun, Birgit Lechner, Sadie, and Saphron. They are all amazing talents and a joy to work with.

What did you do to plan these shoots?

All of these shoots were meticulously planned, starting off with sourcing images that capture the essence of what I am trying to achieve from the usual sources like Pinterest, Instagram and general internet searches (although I do have an increasingly large collection of books of artists' and photographers' work). However, I am increasingly generating my inspiration images using AI to explicitly match the idea in my head.

The moodboard samples I produced prior to the shoot (which have a mix of example images, together with images of key props, colour palette and notes) both help me crystallise an idea, but also, more importantly, to communicate to the rest of the creative team, including front of camera talent, MUAs, etc.

In addition to moodboards, I also produce lighting diagrams (one example here) and a shoot plan/call sheet, which contain basic details such as the purpose of the shoot, call time, address of location/studio, contact details, and dietary requirements, as well as any payment/TFP arrangements. It also contains a timeline for the shoot, which is really just to run past the MUA/Hair/Stylist to make sure it is reasonable and that they have enough time to do their work (good and complex work takes time!), but on the day just used as a loose guide.

How did you arrange these shoots?

Once I’m happy that the moodboard is sorted, and the concept well thought through, the first thing is to sort out the model.

For three of these, I had a strong idea of the look I wanted and who the specific model was, both of whom I had worked with before. I do prefer working with people I have an established working relationship with on more involved shoots. There is usually a significant investment in the shoot, both in time and money (studio, MUA, props and styling), so I need to be confident that the model is reliable, has the look and range to pull off the look, and we have a degree of artistic trust. For the Lady and the Cheetah shoot, I did, however, work with Brigit for the first time, as her look was absolutely what I had in mind for the shoot (and, as expected, was brilliant on set).

From there, it is about getting other members of the team on board (all of these shoots involved an MUA), sourcing props and styling items, and, in one case, having a dress custom-made (but I am not allowed out to buy fabric for such projects on my own – apparently the fabric I bought was ‘slightly’ difficult to sew! – it did however drape and reflect the light perfectly).

What was it like shooting at that location?

All of these shoots were shot at Shutter House Studios LTD in High Barnet. They could have been shot just about anywhere, as I brought just about everything (backgrounds, lights, props, etc.), but they have a variety of spaces, I can bring all my stuff in the car and is quite close.

I would love my own studio (mainly to allow me to do more involved set builds, but in the interim, a decent space, high ceilings, and parking are my core requirements. Interesting textures and natural light are a bonus for impromptu shots after the main looks.

Tell us about the gear you used.

I shoot with a Nikon Z9 and, 90% of the time, an 85mm f1.4 lens, although I always have a 105mm f2 DC lens and my 24-70 zoom with me for options.

Lighting is a Godox AD600 pro, 2x AD400 pros, and an AD100 pro. I also have a set of Bowens monobloc (500w) if I need additional lights, but they are very rarely needed.

My biggest investment (after the camera) is a set of hand-painted Gravity Backdrop canvas backgrounds. While AI is a practical alternative nowadays, I love the textures, and I think having them on set helps construct the ‘atmosphere’ and subtly influences how everyone conducts themselves on the shoot, including the model. 

Images from shoot #1

This shoot was with Irida and my 'usual' MUA, Sadie (who is not on PurplePort), and included two looks: Raven Queen and Root Fairy.

Raven Queen

I had a custom skirt, top, and feather 'shawl' made specifically for the shoot, with a lot of black feathers in various sizes for the MUA and for set dressing.

I did contemplate picking up a taxidermy raven to include with the shoot, but the logistics got a little complicated, so any ravens I composited in, although the final composite is my favourite shot of the series.

Raven Queen Example Moodboard by photographer JonC 

Example lighting diagram for Raven Queen shoot by photographer JonC 

Raven Queen by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Raven Queen by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Raven Queen - Full composite by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Dark Angel (Raven Queen - Full composite) by photographer JonC taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Root Fairy

The second look of the day was the Root Fairy. I brought lots of Fuller's earth, willow, and model makers 'moss' and let the MUA and Irida get on with it.

Loved the full body paint that encapsulated exactly what I was looking for. One of the great advantages of having a detailed moodboard and a set of talented creatives who you trust.

Root Fairy Example Moodboard by photographer JonC

Root Fairy by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Root Fairy by photographer JonC with model Irida taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Images from shoot #2

Dark Fashion

The second shoot was a Dark Fashion, with gothic and vampire overtones. Sadie wasn't available but managed to get Saphron (the Series 5 winner of Glow Up: Britain's Next Make-Up Star ) for the MUA.

I brought the full styling (skirt from the previous shoot, and an embroidered gothic top from Etsy), and a wide collection of fake flowers and foliage. I have to say that Saphron absolutely nailed this, getting incredibly close to my AI-generated sample image and constructing the headpiece from scratch on the day.

11) 

Example moodboard for Dark Fashion shoot with Rebecca Tun by photographer JonC 

Dark Fashion - Into the light by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Image by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

The conjuring of words (Dark Fashion - as shot) by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Dark Fashion - Final Composite by photographer JonC with model Rebecca Tun taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Images from shoot #3:

Look who's come to Dinner

My third and final shoot was a homage to Irving Penn's November 1960 US Vogue picture of the lady and the Cheetah.

I didn't try to slavishly reproduce this, but clearly closely followed the concept. I'm particularly pleased with how this turned out!

1960s Vogue shoot with Birgit (Mood board for 'Look who's come to Dinner') by photographer JonC 

Dinner by photographer JonC with model Birgit Lechner taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Look who's come to Dinner - As Shot by photographer JonC with model Birgit Lechner taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

This is my favourite image of the set – at least partially because it was so close to the image I had in my head!

Look who's come to Dinner! by photographer JonC with model Birgit Lechner taken at Shutter House Studios LTD and postprocessing by JonC Retoucher

Thank you, JonC, for sharing your creativity, experience and images with us. We loved learning about your photoshoots with models Irida, Rebecca Tun and Birgit Lechner at Shutter House Studios LTD!

We hope you all loved it, too. Don't forget to check out the links below to see more of JonC 's work!

Here's where you can find more of JonC's work

PurplePort: JonC 

Website: www.clempner.com 

Instagram: jonclempner

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