RayBann

I'm most interested in bringing something of your personality into imaginative portraiture. My work could embrace fashion, documentary and portraiture depending on the person I'm working with. I'm very open to negotiating and exploring ideas with the person on the other side of the camera to arrive at innovative imagery. As you look at my portfolio images, it would be useful to bear in mind that I want to go beyond them. I'm not interested in producing cliched work - I think it's pointless, there's too much of it around! The image is what I'm interested in, in that way I see connections with visual art and its history - I can learn from Rembrandt or Vermeer as much as current fashion imagery. If this approach is for you, please get in touch to discuss...

I started to photograph people in the mid-eighties, approaching people on the street. I was particularly interested in how they expressed their individuality through dress. This work developed into working with fashion / models in the educational institution I worked in for twenty years. Since 2006 I've had a career as an exhibiting photographer and videographer, using both to make documentary films and DVDs based broadly on people's everyday experience.

Please note: After making films & DVDs on a 10-year diversion from still photography, I now work with narratives in my still photography. The narrative can be suggested by a model's look or by a prop I find or by an idea that intrigues me at the moment. This means that I may approach a model with an explanation of the background to a project rather than with specific ideas. That's because a) I need the model to be interested in the project and willing to engage creatively with it; then b) I need to work out what the narrative is and how to express it through all aspects of the imagery (this can take time). Then c) I will give the model the specific ideas so that we can have a creative discussion about them. I do not work in cliches: I've been doing photography long enough to understand a little of how it works. I do not want to produce images that have been doing the rounds for the last 40-50 years. What's the point? If I work with you, I'm primarily interested in connecting with your spirit - (so often evident in the eyes) and bringing aspects of that to spirit to the photographs. Some models seem to have difficulty understanding this approach: whilst I can explain it, what I can't work with is negativity, especially at the early stages of developing ideas.

What you can expect from me: 

A high level of professionalism in:

The quality of image, photography, lighting.

Sensitivity to the model's needs. I will never ask you to go beyond your stated levels.

I aim to communicate clearly, politely and respectfully before, during and after the shoot.

Use of model release forms, so you as a model understand how, when and where the imagery is used.

Prompt supply of agreed number of images after the shoot. However, I've now made the decision that, for paid shoots, images will be supplied to the model with copyrighted tags. I've had models altering my work through crops and weird toning. I was recently told by a model that she would get prints made from the images I gave her. For all the well-reasoned sensitivities about photographers working with models, there needs to be an awareness on the model's part of copyright and ethical issues about reproducing photographers' works. I respect you. Please respect my work; if you need to use my images, please ask and tell me how they will be used and be prepared to negotiate with me.

What I expect from the model / MUA:

Professionalism.

Clear and prompt communication. If you decide not to follow through after discussions, please tell me.

Punctuality: if you are going to be late etc, simple enough to communicate!

Willingness to work with me on developing ideas.

No heavy alcohol intake on the evening prior to the shoot.

Albums