Model and Lingerie

Since I had such a good response using a Model Mayhem model call on my last lingerie photo shoot, I decided to go that route again.  Olly responded to the model call, and had a great look, so we booked the shoot.  She provided most of the wardrobe from her own collection.  I am finding this adds some authenticity to the shoot, even if I give up a bit of control and ability to plan.  Let me just say that Olly was fantastic to work with.  Great personality and confidence really makes for an enjoyable session.

Setup and Shooting

My goal for this shoot was (again) to use primarily film, with perhaps a bit of digital.  Since I thoroughly enjoy my Nikon F100, I wanted to shoot that;  as always my workhorse was the Bronica SQ-a.  I really love the Bronica.  

Let’s talk film.  I had some leftover film from my shoot with Annie, and had learned a bit on how to work with these new-to-me stocks as a result. In particular, some expired Fuji Astia 100 slide film was begging to be run through my Bronica.  I had previously had this film cross-processed, but decided I wanted to shoot it for this session and process normally in E-6 chemistry. I also brought along some Kodak Tri-X 400 (in both 35mm and 120 sizes), a couple of 120 rolls of Kodak Portra 400, and some 35mm Arista EDU 400.

Accessories for our shoot included my Sekonic L-308S, and Vanguard tripod.

As for shooting, we just improvised within our location, and used window light.  I kept the curtains open for a bright an airy look during this session.


This time, I did about of film developing myself.  Black and white film was developed in Rodinal using stand development (1:100 Rodinal and 1 hour developing times, with 1 or 2 agitations midway though).  Negatives were personally scanned using an Epson V500, and processed in Adobe Lightroom.  I decided to send my color film to the FIND Lab, in lieu of previous labs I had used (Indie Film Lab proved a bit slow on their turnaround, and for the price that’s not OK). 

The results from the FIND lab were good, and they turned around the film promptly.   I decided to scan the negatives myself, instead of having the lab scan.  Frankly, this is a cost-control choice.  Lab scans are expensive, and multiple rolls adds up to an expensive shoot. 

I am actually undecided on whether my decision to process the Fuji Astia in traditional E-6 chemistry (rather than cross-processing) was for the best or not.  I simply love the colors that cross processing gives to this film; however, the physical slides have a hyper-real depth to them when they are held up to a light.  They look truly alive and stunning.  Truthfully, this beauty and clarity doesn’t carry through to the scans as much as I would like.  I do prefer the E-6 Astia scans to both Kodak Ektar and Kodak Portra Negative scans.  


First, the Nikon F100 shots:

And here are the Black and Whites from the Bronica (Kodak Tri-X 400):

Fuji Astia 100 Shot with Bronica SQ-a:

And finally, Kodak Portra 400 shot with the Bronica SQ-a:

One thought on “Olly

Leave a Reply

Your email address will not be published.

This site uses Akismet to reduce spam. Learn how your comment data is processed.