Half a year ago I embarked on a compact editorial-style shoot — part studio, part street — with model Bahia Sampers in Berlin’s Neukölln district. The purpose wasn’t just the final images, but what I learned along the way. For those in photography or creative fields, I hope this gives ideas and prompts to revisit your own work.
Starting in the Studio
We began in my studio with a simple white backdrop. Later, I applied a gradient map in Photoshop to shift the background toward a muted grey-brown tone — a subtle change, but one that gave the images a more atmospheric and slightly vintage feel. On this setup I shot around 30 frames, although only a few will ever be published. I believe in overshooting when possible, because even after nine years of photography I still find my work from six months ago feels weaker than what I’m doing today. Constantly revisiting your archive, re-editing, printing books, or publishing online is vital.
In one particular frame I balanced two speed-lights with colour gels: a white backdrop, one light warming the scene, another filtered to cool. The result wasn’t “perfect,” but it exercised my ability to play with contrast and colour. I may now choose a more refined outcome, but the experimentation is what keeps the creative process alive.
Taking It Into the Streets
Moving beyond the studio, I ventured into urban surroundings. For me, shadows and silhouettes are among the strongest compositional tools. The shapes created by light and model, the negative space around them — these are not decorative extras, they’re central to the visual story. In one image I used bright sunlight as a contour light, and handheld a small reflector from the opposite side. I was alone at that time, so I doubled as photographer and assistant. The lower position of the reflector created a slightly uneasy mood; if you aim for something more polished you might raise the reflector rather than leave it low.
In another frame I intentionally left extra space above the model to evoke quietness and roominess. That’s the thing: even a simple environment like a street or yard can become effective if you pay attention to light, shadow, and shapes. One frame was taken just ahead of sunset, about one to two hours before golden hour. Longer shadows, lower sun, mixed with outfit and environment — the results felt elegant but I still felt the concept could have gone deeper.
Street shoots bring their own challenges: poles, road signs, impromptu cars, clutter. Do I remove them in post-production? Yes — even though some purists might argue it reduces authenticity, I photograph because I have ideas to convey. If a distracting building corner or street sign steals attention from the subject, I edit it out. My priority lies in clear composition.
On Location During the Golden Hour
One of the most rewarding shots came shortly before sunset. The warm side light, long shadows, one reflective surface — it took about six tries to get right. I was grateful when a stranger helped me with the reflector; sometimes help comes from unexpected places. The actual location was an ordinary residential yard in Berlin with a playground in the background. But I found a high-contrast moment: model in light, background slowly fading into darkness, the playground barely visible. The location didn’t need glamour — my job was to make it feel meaningful through lighting and composition.
Technically speaking, the shot interests me: a strong silhouette, layered shadows, form and fashion working together. Conceptually, I know I could have pushed it further. But the value lies in the attempt: building your visual library, testing the tools (light, shape, shadow), rather than waiting for the perfect idea.
Final Thoughts
The photographs from this shoot have since been published in magazines such as Vizoro and Beautica. But more than that, the process reinforced something I believe in: revisit your work, look at it critically, keep learning. It doesn’t matter how many years you’ve been behind the camera — if you stop analyzing you stagnate. Watch good films, visit exhibitions, surround yourself with art.
In editorial photography, rules exist for a reason — but once you’ve mastered them, you may break them intentionally. If a story calls for harsh light or uneven reflections, go there. The main point is: shoot more, reflect more, edit more. And above all, let your intention drive the image.
