Frequently asked questions

In the Q & A below, I’ve tried to expand on some of the details from my front page, and also include a general overview of what to expect during a photo session, how you will receive your pictures, post-processing, copyright ownership, and so on, which may be useful if you are considering a session, either with me, or with any photographer.

Are you vaccinated against Covid?
I’m triple vaccinated. In each case, I had the Pfizer-BioNTech COVID-19 Vaccine. Overall, I’m super pro-vaccines, and will have the 4th, 5th … 99th, 100th, as soon as these are offered.

From day one, I’ve considered vaccination to be in addition to the other measures, such as physical distancing and mask-wearing, not instead of, so I still wear a N95 mask whenever I’m outdoors, including in the street or park, or even when I take the recycling out to the bin. I wouldn’t even think of going into a supermarket without a mask and gloves, and have quite a long decontamination procedure when I get home.

If I visit your premises, I’ll wear an N95 mask during the whole journey to you from door to door, and can keep this on throughout the session, depending on your preference. I’ll bring along my own alcohol-based hand sanitiser, and will be careful not to spread my bags out (so it’s easier to clean up afterwards should you wish to), or touch anything of your property throughout the day.

I take two lateral flow tests per week, to get an early warning of any asymptomatic infection. If you have a special vulnerability, such as asthma, or a weakened immune system, let me know before your session, and I’ll move one of the tests to the morning of your session before I set off.

Both Sir Chris Whitty and Sir Patrick Vallance have said that they believe Covid will be with us in some form for the rest of our lives, and that is how long I expect to continue wearing my masks, and being careful about infection control (which help to protect against a range of respiratory illnesses, such as colds, flu, bronchitis, as well as Covid).

Why do you think glossy pictures can help to improve my personal safety?
I started this website after reading an article about the 2006 Ipswich murders. For me, the purpose of a photo session is to produce promotional material that is designed to have an impact and generate the largest number of booking requests for a provider. If a person is receiving an abundance of work, and is satisfied with the amount of income she acquires, she can afford to be selective. Perhaps she will turn down those requests that seem a bit pushy, or are asking for something she doesn’t really want to do. As a person becomes more successful, she is able to become more exclusive.

I think most of the last paragraph is fairly self-evident (I don’t claim to be a deep thinker), however there is another more subtle way that having carefully produced photos can help to improve a person’s safety. Offering adult services is an inherently dangerous occupation in that it generally involves meeting a stranger in private, who may, on occasion, conceal a secret malignant motive for requesting a meeting. It’s common in all walks of life for a potential aggressor to seek out a person who appears vulnerable as this marks her as a soft target.

Setting aside my work as a photographer for a moment, and writing mainly as a viewer, I know when I see carefully produced photos of a provider, this creates the impression of a woman who has achieved professional and financial success. I suspect these are things that an aggressor would find intimidating. A provider’s photographs can present her in a way that shows she is powerful in the way she conducts her own life. She can use this ‘success privilege’ to her advantage as it suggests a woman who is strong and in control.

While photography cannot offset all of the risks of providing adult services, I believe it is a device that can be added to the toolbox, together with careful screening, and the possibility of charging more for a meeting as a result of advertising that presents the provider in a highly desirable way, which may restrict access to clients whose own personal success often goes hand-in-hand with greater intelligence and an understanding of how to treat others (I know wealthy doesn’t always mean well-behaved).

My biggest ambition for this website is that by producing suitably enticing promotional material for a provider, this will help her to advertise more safely, and lead to a level of success that will enable her to pick and choose with whom she agrees to work. Personally, I like the idea of using art to enhance a woman’s safety.

Do you travel outside of London?
At the moment, I’m mainly considering photo and video sessions within Greater London. This is for safety reasons, as I always plan my journeys via densely-populated routes during daylight (I wrote this last sentence before the pandemic), so there are always lots of people around, and this isn’t always possible when travelling over quiet country roads outside of London (similarly, there are parts of east London that I won’t visit, such as Newham, which is known for knife crime). In exceptional cases, I might consider travelling farther afield to nearby satellite counties, e.g., Kent, Woking, High Wycombe, etc., and other localities at similar distances from the capital if the price of an overground train ticket is paid by the model. If you live outside of London, another possibility is to hire an Airbnb in central London for your session, perhaps somewhere you have worked before, that you like the look of.

Where does the photo session take place?
The most frequently requested venue is at one of the many thousands of Airbnb rental locations across London. I have my own portable lights, which can illuminate any room or apartment to the standard of a photo studio, with just a few minutes to set up.

An advantage of working at an Airbnb, or similar location, is after your photo session is completed, you are able to continue working from your room in the evening if you wish, which can help to offset the cost of your photo session (i.e., a way to have your cake and eat it too). I’ve worked with models who have travelled from as far afield as Birmingham and Derby, and set aside part of her London tour for photography, then returned to her regular work for the remaining hours or days of her Airbnb booking. Typically, your photo session will be about 6 hours in length during the daytime, which is enough time to photograph about 12 outfits, and also record some videos, if you wish.

Is my Airbnb suitable for a photo session?
A room of about 3 metres in length or greater is ideal, as this enables you to be photographed standing full-length, from head-to-toe, without the use of a wide-angle lens, which might otherwise introduce distortions to your image.

If you would like an uncluttered ‘pin-up calender’ style, ideally there will be at least one plain wall, part of which is clear of a radiator, or a window. The look will be similar to the photos taken against the yellow wall, or in the white room in my gallery.

The advantage of this type of neutral background is attention is focused entirely on the model without any distractions. A white painted wall, typical of many rented flats in London, is perfect for this style of photography.

If you prefer more of a ‘busy’ look, with a bit more going on behind yourself, we can include more detail in the background. An example of this is the kitchen photos in my gallery. An area with a bit of furniture, such as a bedroom or living room, can provide a bit more background detail.

If you are considering an Airbnb, I would recommend choosing a room that has plain white-painted walls, and doesn’t have a heavily patterned carpet. Ideally the flooring will be as neutral as possible, perhaps wood floorboards, or a simple grey carpet.

I’ve worked at several dungeons, with walls painted either dark red, matt black, or lilac. While these are striking for a few photos, the problem I’ve noticed when working in a room with walls painted a strong colour is that all of the pictures tend to look the same. Even when the model changes outfit, the background is so overpowering that this dominates what the viewer sees. It’s very difficult to build a portfolio that has a sense of variety when all of the photos have the same red wall behind the model. On the whole, I would recommend a simple white background, as this is generally completely ignored by the viewer, whose full attention is on the model instead.

Describe how you set up your lights, camera, etc.
My aim is always to set up my lights in such a way that they cast the softest possible glow over you. My preferred method of lighting is to place 2-4 continuous daylight-coloured photographic bulbs (these are non-flashing, so discreet for neighbours, and non-flickering for persons with photosensitive epilepsy) behind large white umbrellas, which scatter the light gently in all directions, similar to the way a Chinese lantern lights a room. The result is soft and even light, which doesn’t leave skin looking washed out and creates almost non-existent shadows. This type of soft light has an additional advantage of knocking at least 5 to 7 years off the appearance of any model.

I normally keep my camera (a full-frame, 35mm camera from Sony) on a tripod for about 75 percent of shots, using a cable shutter release to take pictures, and place the tripod about 2.5 metres away from you. This is partly to make sure you have lots of personal space, as I know you don’t want a photographer stepping on your toes the whole day.

I think I’m polite and considerate, and always try to think of the model first in all aspects of her session. You can certainly expect not to hear any of the silly flirty ‘banter’ that some photographers are famous for. I’d enjoy having a conversation with you about current affairs, popular culture, or any other subject, though.

I’ll normally ask you to change your outfit every 20 minutes or so, aiming for about 50 pictures per outfit. I’m quite disciplined when it comes to allocating time for each costume, to the extent that I bring along a digital egg timer, which counts down from 20 minutes (yes, I’m that neurotic).

I tend to think it’s better to spend less time on each outfit, and change more frequently, rather than, for example, spend an hour taking hundreds of pictures of a single look. My reason for thinking this is because if there are only a few changes of wardrobe, many of the pictures will inevitably look very similar.

With a greater number of outfits, you can begin to build a portfolio with a variety of different looks, which tick all boxes for potential visitors to your public galleries, all of whom may have very different tastes.

Do you expect to receive any “extras” or “freebies” after the shoot?
On a personal level, I don’t want to have sex with somebody I’ve just met. I’m not someone who would use a dating / casual sex app, or go to a nightclub and try to pick up a stranger (in fact, I could have put a full stop after the word “nightclub” in the last sentence, as the idea of listening to music I don’t like, while watching others check their phones in a crowded, alcohol-fuelled environment is nearly a living hell for me). It is one of my most deeply held personal beliefs that everyone has the right to do whatever he or she wants with his or her own body, however all of the above is just not for me. When I approach a session, it’s on the understanding that we both want to complete the work to the best of our ability. Extras or freebies are not expected, and are not required for us to be able to work together.

Can we talk a bit about privacy and confidentiality?
Privacy and confidentiality are by far the two most important considerations when organising a shoot and after. We live in a society in which sex work is highly stigmatised. I’ve worked with several providers who seemed to be working at least partly to put food on their children’s tables. If it became common knowledge that a person is selling sexual services, this could have repercussions not only for herself, but also for her family in the form of bullying at school. Accusations of prostitution are sometimes presented as evidence of unfit parenting during child custody hearings at family court. To avoid inadvertently outing a provider, and potentially contributing to problems such as these, I make a point of never discussing my work with anyone. This includes friends, and even other providers who may subsequently request a photo session. I don’t have Facebook or Instagram, or anything similar, and have no interest in discussing my day in order to be ‘liked’ by complete strangers. I don’t need to update everybody endlessly about what I’m doing, thinking, or feeling. I consider anything that you tell me about yourself as we work to be entirely confidential. None of your photos are stored online, i.e., not on this server, and not on any cloud backup service (where they may be vulnerable to hacking). When I send you an email link to download a ZIP file with your edited images, it will be encrypted, and require a complex password to stop anyone but you from viewing the contents of the file.

Will the photo session be lots of fun for everyone, almost like a big party?
One of the models seen posing in my glamour gallery once told me that I am the “most strict” person she has ever worked with, so I suppose the answer to this question is “no” (unless, of course, your idea of a party is working hard and being told what to do all day, in which case the answer is “yes”).

In my opinion, a successful photo session requires careful planning and someone to push things forward and make sure the work is proceeding at a quick pace. On some of my early shoots, I added up the amount of time spent behind the camera and the amount of time spent preparing for the next group of photos, and up to half the day was spent not taking photos, i.e., four hours of picture-taking, and four hours of thinking about what to do next. These days, I do as much preparation as I can before your session (by writing a detailed list of outfits and poses to try) to maximise the amount of time you have in front of the camera.

I think I’m fairly personable (or at least not the mercurial lord of darkness that some parts of this website may suggest). I always try to conduct a photo session with the model’s needs in mind, and make sure that she is involved in every aspect of her shoot. Even when setting up my lights, or taking a picture of a white balance target, I’ll normally explain what I’m doing (this could be interesting, or incredibly boring, depending on your point of view). I suppose I can be a bit over-serious at times, as I get very involved in some of the technical aspects of the work, to the extent that I sometimes forget to engage with the model. If I go a bit quiet at times, particularly a few hours into your session, it’s not because I’m not enjoying your company, it’s because I’m concentrating on taking pictures that are going to have an impact and generate the largest amount of work for you.

I don’t have much experience of modelling: will you give me any guidance as to how to pose?
Yes. If you examine my gallery, all of the basic poses were suggested by me in the first instance (such as asking the model to put her hands in her hair, or on her hips, to turn around, to give the finger to camera, and so on). From these directions, each model interpreted the poses in her own way, and added her own thoughts, so the final images are a combination of all of our ideas.

My way of working is normally something like this: first I write a list of about 20 ideas for potential outfits, which you can look over and select from if you wish, plus a very detailed list of about 50 ideas for poses, which are intended to be attention-grabbing, and create a sense of variety, so your pictures don’t all look the same. I can guide you through these poses with as much help as you need, with the aim of taking photos that are varied and striking for your gallery.

Before we take any photographs, I’ll go through these lists with you, so you have a complete overview of what is planned. This can be helpful because if there are any outfits or poses that you don’t like, it’s easy to veto them when you see them on paper, in which case we’ll try something else (you can also vote down or make changes to any wardrobe ideas or poses at any stage throughout the day).

Preparing the majority of your photo session in advance means we can work quickly and go straight to the most important outfits and poses that will get you the most work. In this way we can shoot with a purpose in mind, and ensure that your photo session is as easy as joining the dots.

During your session, if you agree with the ideas I have prepared, I’ll attach the checklists to the reverse of my tripod, together with any notes you may wish to add. After this, we’ll start to work through the lists until all of the items are completed.

If for any reason you are not too keen on a particular pose or wardrobe idea, you need only say, and we’ll move on, and try something else according to your wishes.

If you have planned your own outfits, or have specific styles of poses that you would like to include, priority is given to these.

In all aspects of her session, the model’s word is law.

Or, to put it another way, I am but a servant of my master.

For me, an ideal situation is when a model takes a basic idea, and elaborates and adds her own thoughts, so the end result reflects her own personal sense of style. Often a person will have her own unique take on an idea that is presented to her, and this is something that is always nice to capture.

If you are feeling less than confident about posing, just let me know, as I can offer a lot of extra help with how to stand, facial expression, posture, placement of your hands, feet, head, and so on.

For example, if the shot is of you standing confidently with your hands on your hips in a Wonder Woman pose, for the next group of photos, perhaps I could ask you to shift your weight onto one leg and turn the other leg out slightly, to create a more angular look, then for the following few pictures, perhaps you could place your thumb in the belt hook of your hot pants and place your other hand in your hair, then both hands in your hair, and so on. The overall aim is to get as much variation as possible, and to create a sense of excitement and temptation in the eyes of the viewer. Just adding a smile can completely change the atmosphere of a picture.

For the very first photos of the day, I’ll normally ask you to sit on a small aluminium fold-up stool, which I’ll bring with me. If you are feeling nervous about being in front of the camera (perhaps because it has been some time since your last photo session, or maybe this is even your first), it can be helpful to be sitting down, so you don’t have to worry about balance or how you are standing.

Often the first few photos of the day are the most nerve-wrecking, so this is a way to gradually build your confidence right from the start. When you see yourself getting good results quickly and easily, this can give you extra self-assurance as we work through the rest of your photos throughout the day.

On the other hand, if you are an experienced model, who is confident about coming up with your own poses, and you would prefer me to keep quiet while you do your own thing, this is perfectly fine also.

As I take your photographs, I’ll make a point of asking every so often how you think things are going? Are you getting everything you wanted? Is there anything you would like to change?

This is my way of double-checking that you are comfortable with all of the poses you are asked to do. I never take for granted that because a person is a provider of adult services, she necessarily wants to reveal her body in her photos.

Even on a non-nude shoot, in which a model is clothed in underwear or her favourite outfits, some of the poses can be more suggestive than others (such as asking the model to bend over and tie the ankle straps of her high-heels in tight Levi’s hot pants, or to sit with her legs apart as she fastens her suspender strap, and so on).

In cases such as these, I will always ask if you are comfortable with these styles of poses before we start to take any. If there are any poses that you don’t like, just tell me, and these will be dropped immediately without any drama for the rest of the session.

If I were to compile a list of the things to do / not to do when working on a photo session, the #1 don’t is, of course, never touch the model. Nobody likes a photographer who comes over and starts tugging at the model’s hair, or who manhandles her into position, as if she is a potted plant. It tends to be my default setting to give a lot of direction as to how I want a model to pose, how she should stand or sit, where she should place her feet and hands, almost to the millimetre. However there is no posing request that can’t be conveyed verbally (and politely). I suspect to behave otherwise would instantly result in a very angry model.

Do you have any hair and make-up tips?
When I work with a professional model, I normally ask that she wear light and natural make-up (i.e., a touch of black mascara, lightly applied foundation, pink lipstick, a tiny hint of pink blusher, softly-toned eye shadow, clear nail-polish or French manicure, no filled in eyebrows or false eyelashes, and minimal or no jewellery) for an almost make-up free look.

The reason for this is because after your photographs are taken, when I begin to edit your pictures, I will generally boost the colours of your skin-tones, sometimes quite dramatically. If you are wearing strong red lipstick, or dark eye shadow, this tends to look super-intense after editing.

If you are a fan of lip-fillers or Botox injections, perhaps these could these could be applied a week or so before your session, so as to give the treatments a chance to settle down before your photos are taken, with the aim of creating a look that is as natural as possible.

A little trick that can make a big difference is to have a hairbrush and portable hand mirror next to you during your shoot. Then after each wardrobe change, it’s easy to quickly brush your hair, and have it looking the way you want it again (i.e., not standing up in unexpected ways) in time for the next set of photos in a new outfit to begin.

A hairbrush is also a vital piece of equipment if you would prefer for your face not to appear in your photos, as it is possible to place greater emphasis on pictures with your back to camera (i.e., with more of a focus on your bottom), while carefully arranging your hair so that it obscures your features, thus completely hiding your face in a way that is very natural-looking. The purpose of this is to ensure that you have hundreds of extra photos that you can use straight away without the need to blur, without worrying that your face is in shot.

Do I have to be nude in my photos or videos?
No, you certainly don’t need to be nude. In fact, you don’t have to wear any fewer clothes than you would on a trip to the supermarket. Very often it can be equally enticing to leave a little to the imagination, e.g., by wearing seductive lingerie, or fantasy club wear, or a favourite outfit. But this is something that everyone has to decide for herself. For the purpose of these sessions, I’m equally comfortable with a model who is fully clothed, or topless, or nude, or any combination. It’s up to you how you present yourself. The final decision depends entirely on what you want from your session.

What is your preferred style for a typical shoot?
Although I’m comfortable with most types of photo session, my own personal favourite is working on a primarily non-nude shoot in the style of pin-up lingerie or clothed glamour, i.e., without full nudity for the most part, but with an emphasis on fantasy outfits. Examples could include black stockings and lacy lingerie, leather hot pants and over-the-knee boots for a biker look, a secretary-themed outfit with high-heels, black stockings, a pinstripe skirt, and a sheer black blouse, and so on.

Personally, I’m a huge fan of 1940s pin-up art (similar to the “Vargas Girls”, who you might have seen on the side of a World War II bomber). Typically these are drawings and paintings that show the subject in very leggy and feminine full-length portraits. I almost always try to bring elements of these images into my photography, while attempting to update the style to appeal to a modem audience.

My other biggest inspiration is the fashion photographer Helmut Newton. When I was about fifteen, I used to look through coffee table books of his work in Athena bookshops. Even at this age, I was struck by how strong and powerful the women in his photos looked. Even when photographed without clothes, they never appeared fawning or eager to please (unlike, for example, the page three models I was used to seeing). In this way, Mr. Newton’s photographs can be said to be post-modern in that they seem to offer an implicit criticism of the way women are sometimes presented in the mass media. This is the only thing I’ve ever wanted to do in my photography: to show a woman as being self-confident, strong, independent, and all-powerful. In a sense, every picture I have ever taken can be traced back to Mr. Newton’s famous photo montage, “Sie Kommen”.

If I had to describe my own style of photography, the first word that springs to mind is “commercial”. The most important thing to me is impact. Every decision I make during a session regarding posing and wardrobe is rooted in trying to get the maximum amount of work for the provider.

I take a ‘production line’ approach to photography (i.e., not necessarily the most artistic, maybe even a bit mechanical), with individual shots, outfits, and poses carefully calculated to have the strongest, most visceral effect on the viewer, and executed one after the other.

I’m not going to tell you that I’m the greatest photographer who ever lived, nor the most versatile, however if you would like something similar to the style of photos you see in my gallery (bright, colourful, energetic), I have a large wardrobe of suitable outfits, and can recreate this look almost in my sleep.

Is there anything you don’t want to do?
I always aim for each model to look beautiful and seductive, but also with a sense of strength and self-confidence. The types of photos or videos that I’m very uncomfortable with are those that try to present a model in a way that is intended to give the impression that the material is humiliating for her (i.e., the appearance that she is not enjoying the seemingly non-consensual nature of a scene, e.g., a vanilla video that shows a participant grabbing a woman by her throat during foreplay, spitting in her face, and so on; or solo pictures that show a model who is restrained or otherwise in distress). Similarly, I find it very difficult to look at any depiction of violence toward a woman (even staged). This last statement can be multiplied by a thousand in relation to the mistreatment of any animal. On a personal note, I’ve never really liked any images that include the use of sex toys, or any insertions. I’m not sure how I would photograph or record these in such a way that would make the material look good. I’m also not too keen on the vast majority of R18-style videos. In particular, I’m highly critical of the gender stereotypes and casual misogyny that are prominent in virtually all of these. It grosses me out watching people having sex, in any case. Finally, for safety reasons*, and due to the highly personal nature of the material, I don’t accept any work from anyone who is male (* 82 percent of all violent crimes are committed by men, according to the Office for National Statistics, as are 98 percent of sexual offences, and 93 percent of murders). If I’m asked to do a shoot that I may not be well-suited to, either because I don’t have the skills to do this type of work effectively, or because I don’t have any experience in this area, I’ll always tell you straight away during our initial email conversation, rather than go ahead and make a mess of your session.

Will my photos be published on your website (as examples of your work) or anywhere else?
The answer is “no” to both of these questions. If you are paying for a session, I won’t ask if I can use some of your pictures, as I think this could put you in a very difficult position. In this situation, you should be able to expect that your pictures belong to you alone, exactly the same as if you bought a loaf of bread from a supermarket, you wouldn’t expect the sales assistant to borrow a few slices.

This is for your own peace of mind as I understand that providing adult services is a career that very often has a high turnover of persons wishing to retire after a few years (or even months or weeks). It is therefore vital for you to know that you have control of your images, so if in future you decide to quit, you can take down your personal website, and perhaps a few other pages that you use to promote yourself, and quickly make yourself invisible on the Web, thus removing the most prominent traces of your previous life, without having to worry that the photographer has published your photos in every corner of the Internet.

I understand that all of the photos from my session are fully post-processed, and 20 of my favourite pictures receive additional retouching: could you say a bit more about this?
Before I send you the results of your session, I’ll edit all of your photos to adjust the most important parameters that affect the way a picture looks, i.e., exposure, colour, brightness, contrast, sharpness, white balance, recovery of lost highlights and shadows, image noise, and so on. Typically, this amounts to around 600+ edited pictures after a full day’s photography.

The purpose of this is to make sure that all of your photos are usable should you wish to publish all 600 in (for example) a paid private subscription area on OnlyFans or Adultwork, or to have a large quantity of material should you wish to post a variety of previously unseen pictures on Twitter or Instagram.

The reason I process all of your photos is because I think it’s unfair to send you 600 half-finished, unedited images, as you may not necessarily know how to complete the work yourself, in which case 99 percent of your photos are wasted. I know it’s common for a photographer to retouch only 3-5 pictures, and deliver the rest unedited, which in my opinion is pure greed and laziness. A program such as Photoshop, with its often confusing array of menus and tools, can have a steep learning curve for a person who is unfamiliar with image adjustment. Overall, I think it’s better for everyone if I complete the work myself.

In addition to the above, 20 of your favourite photos receive additional retouching, so these are suitable for display in your public galleries, i.e., some extra work is applied to these so they are absolutely flawless for your advertising.

As you look through your pictures to choose your favourites, you can leave comments, such as specific editing requests, requirements for blurring (if desired), blemish removal, and so on (I will normally flatten slight bumps that may appear on your waist, and remove excess skin, striae, an appendix scar, razor rash, whiteheads, and any other slight imperfections that may appear on your stomach or elsewhere on your body). These additional changes are applied to your 20 favourites.

Also, I don’t mind if you choose more than 20 as your favourites for additional retouching. If you are finding it difficult to decide, or if you would just like a few more, I would never say no to this. I think it is important to always try to over deliver and hopefully exceed the client’s expectations. I want you to have something of value that you can use to promote your career as a result of your photo session.

Normally the day after your session, before I start work on your finished pictures, I’ll send you a few versions of a sample image from the previous day, which are modified with different levels of colour, brightness, contrast, etc., so you can compare the pictures side-by-side and choose which styles of editing you prefer.

Your photos are important to your career and your livelihood, so you shouldn’t have to settle for what the photographer thinks is right for you. By comparing the different styles, you can be involved in choosing for yourself how your finished pictures will look.

Once you have made your choice of the style (or styles) of editing that you prefer, the remainder of your 600+ photos are completed according to your preference.

I see lots of Photoshop fails on the Internet, particularly the overuse of skin softening, excessive digital edge sharpening, colour saturation turned up to eleven (on the Spinal Tap scale), and images brightened to the point that the model’s skin is completely blown out. Can I be sure my pictures won’t look like this?
Hmm, skin softening, colour/brightness saturation, and heavy digital effects. In my opinion, anything greater than the tiniest amount of skin softening is going to look very artificial. Used without care, it is immediately obvious to the viewer that the images have been altered.

When working on your twenty or so photos for your public area, I’ll normally rub out a varicose vein, or a bruise, or a wrinkle, or any marks, or discolouration, or any other minor distractions. But this is achieved in carefully targeted brush strokes. Applying skin softening across an entire body (particularly on a heavy setting) tends to produce a very waxy, plastic look.

Personally, I don’t like the way skin softening looks, and never use it in my own pictures. However, I recognise that we live in a highly Photoshopped world, in which almost every advertising or editorial image that appears in the mass media has been worked on, often for weeks and months, so there is an expectation among viewers of a certain artificial standard of perfection.

If you decide that you would like skin softening applied, I’ll try to add this sensibly, so you have an option for your pictures to compete on a level playing field with all of the other models who are similarly made perfect by Photoshop.

If you are concerned about (for example) laughter lines or crow’s feet appearing in your photos, it is also possible to decrease the overall level of sharpness slightly, which can create a natural and pleasing effect.

This could be an alternative to skin softening tools for a model who feel strongly about not having too much digital editing applied to her pictures.

On the subject of colour saturation, I’ll normally boost the colours of your skin to prevent a grey, washed-out look, then add a little extra red or pink to create a sense of warmth. The purpose of this is to give you a healthy glow, as if you have just stepped off a beach, without substituting a grossly unrealistic level of colour.

For me, the overall aim is to make image editing invisible. I want your pictures to look nice and have impact, which means carefully correcting brightness and contrast, working on the colours to create pleasing skin-tones, as well as (earlier, during your session) choosing sensible lighting and striking costumes and poses. But all of this should happen in the background without the viewer being aware that the above decisions have been made. The aim is for the viewer to be ‘wowed’ by an image, without thinking about the work that went into getting it to look this way.

How will I receive my finished photos and videos?
Normally within five days of your shoot, I’ll send you a link to download an encrypted ZIP file.

The ZIP file will have a password that is made up of approximately fifty random characters, which if a network of fast computers were to work offline at 100 billion attempts per second to break the password, it would still take longer than the present age of the universe (about 13.78 billions of years, according to the Lambda cold dark matter theory of cosmological concordance), plus many quadrillions of years into the far future to guess the correct sequence of characters, to a point in time when the last galaxies and stars have faded from existence, with planets and stellar remnants left to drift from their orbits (a quadrillion is 1,000,000,000,000,000 years, otherwise written as ten to the fifteenth power: 10¹⁵).

The purpose of this is to make sure that no other person with access to your computer or phone (such as a partner or child) can read the contents of the ZIP should he or she attempt to open it.

All of your photos (normally over 600 images) are fully post-processed, and presented in at least three sizes: i.e., original: 6000×4000, suitable for subsequent further editing and resizing, medium: 3000×2000, suitable for sale to your clients in a private subscription gallery via OnlyFans or Adultwork, and Web-friendly: 1500×1000, suitable for online advertising on websites such as Adultwork or Twitter.

If you would like your photos saved at any additional sizes, you may choose as many additional resolutions as you wish without extra charge.

If we have recorded any videos as part of your shoot, your clips are edited to 1920×1080 mp4 format, and saved at 12-14 MB/s to preserve the detail of the high-definition recordings.

If you don’t have means to access 4 to 10 GB of downloads over the Internet (perhaps due to a slow or unreliable internet connection), your photos and videos can be written to a reusable 32GB SanDisk USB flash drive or SD card (also password-protected) for an additional £8-10 to buy the drive (or you can supply your own if you have a spare device).

Will you put your logo on my pictures?
No. All of your photos are supplied ‘clean’ (both in their edited and unedited versions), without any logo or text indicating who photographed your images, and without any other tricks that photographers sometimes use to spoil your pictures (such as supplying your photos in low-resolution, with pictures not much bigger than a postage stamp, so you have to pay more for each picture that you want to use, or another annoyance that I see occasionally, printing “unedited: selection purposes only” in text over all of your photos, so 99 percent of your shoot is unusable).

How is payment made?
If you live in London, the full fee (£300) is due in advance of your session, sent electronically by direct bank transfer to my bank account, when we agree a date for your booking by email. No mention of photography, modelling, escorting, the name of this website, or anything similar will appear on your bank statement. Only my bank account number will appear.

If you live outside of London, the full fee is payable as above (£300), plus the cost of travel to you by overground train (this is usually about £20-30). I’ll send you a link to National Rail’s website so that you can verify exactly the amount that is charged by the train operator.

If something goes wrong, will I be able to get a refund?
If for any reason you change your mind and decide to call off your session, you will receive a full refund of the amount paid, which is returned to you by the same method of electronic transfer. This is a no quibble guarantee. You don’t need to give a reason if you change your mind.

The only partial exception to this is if you live outside of London and I have already bought an overground train ticket to get to you, in which case the refund is minus the price of the train ticket (this is normally purchased on the day before your shoot). Also, if an Airbnb or studio is hired for your session, this rental fee paid to a third party is not included in your refund.

Similarly, if for any reason you are not happy with the results of your session, I’ll send you a refund. I made this site because I enjoy photography as a means of self-expression, and because I thought I might be able to do something in my own way to contribute to a provider’s personal safety, not because I thought it would make me rich. I want you to be happy with your pictures, and for your photos to be useful to you in supporting your business. Money is much less important to me than doing each job as well as I can.

Do you have any annoying rules that you stick to pedantically?
Yes, I have a few of these. The first is strictly no smoking. I’ve always been super fit and healthy (yes, really). I’ve been vegetarian for nearly the past thirty years, I practice yoga and meditation, and know a bit of self-defence (I’m a proponent of everyone learning to defend herself by quickly improvising a weapon to disable, or if necessary, to kill her attacker in cases of attempted rape or threat to life). I don’t drink any alcohol (not for any religious reason, I’m strongly atheist), and have exactly zero interest in legal highs or illegal drugs. As such, I try not to undo all of the above by working in an environment that is filled with second-hand smoke.

On a related note, I would (figuratively) beg you not to consume any alcohol before your session. Not only will your pictures come out badly as you will be bleary-eyed in all of them, even a small amount of alcohol will make the session a far more difficult experience for both of us. Modelling requires a lot of concentration, and for all parties to be fully alert, as there will be a lot of instructions and prompts, which you need to be able to remember from one shot to the next. Modelling is far more physically exhausting than you might imagine: if you were to attend a yoga class, for the most part, you would be holding yourself still in various poses. Modelling isn’t so dissimilar. I realise that sometimes a person will drink to overcome feelings of nervousness, however a much better way of tackling anxiety is to find a piece of paper and a pen, and start to plan your session carefully: what outfits would you like to wear that will help you to gain the largest amount of work; are there any poses that you particularly like or dislike, which you would like to include or avoid? In this way, we both have a clear idea of what to aim for, and we can focus on working toward this.

Without wishing to over-egg the above, if I suspect that you are drunk, or have used an illegal drug, I won’t be able to continue with the session, as I have to be absolutely certain that you fully understand what you are doing, and that you are able to give unintoxicated consent to your participation in all of the poses or video performances that are asked of you.

Also, now that I’m in ranting mode, one thing I’m strict about (there’s that word again) is I won’t participate in any session in which there is a risk of injury to the model (when I use the word “injury”, I’m referring to a broken bone, concussion, or death). Examples could include: balancing precariously at the edge of a balcony to take a photo against the skyline (a.k.a. ‘death by selfie’), asking you to climb up on the furniture in high-heels, taking pictures standing in the middle of a road or on a railway track, and many other examples. A few years after I started to earn a living from media production, a U.S. model called Nikki Nova, who I found very inspiring, wrote on her blog that she had been hospitalised following an accident on a photo shoot in which she was thrown from a horse. Her injuries included a fractured skull and bleeding on her brain, which left her unable to work for several years. While it is not possible to predict every accident that can happen at work, all of the above examples are entirely foreseeable in their possible outcomes. Where safety is concerned, I prefer to be cautious and sensible when organising a photo session, rather than proceed mindlessly without understanding the implications of what I’m asking you to do. Even if a model wants me to take a picture, and she is certain there is no danger, that she can take care of herself, etc., I will still refuse if in my judgement there is a credible risk of injury should things go wrong. It is part of my job to take responsibility for everybody’s safety during a session, so the work is enjoyable and safe at the same time.

On the subject of health, I’ll normally ask if a model has any medical conditions that might affect her session, such as epilepsy, diabetes, allergy, asthma, anxiety, panic attacks, difficulty standing for long periods. While you don’t need to disclose your entire private medical history, it may be helpful if I have just enough information so that I know what to do in an emergency. This could be as simple as indicating the location of your medicine, such as an inhaler, adrenaline injector, or insulin, and in what circumstances I should call for an ambulance. I know a bit of basic first aid, such as how to deal with choking incidents (I’ve used this successfully once), and also some common sense remedies, such as to put a pillow under a patient’s head if she is convulsing on the floor. Still, it is useful to be able to describe the problem accurately, including being able to name the condition, should I need to telephone for help.

Sometimes a model will ask if she can play her music in the background to help her to relax during her session. I tend to think this is a bad idea, as we both need to focus on the work at hand. I’m aware that I have extremely poor multi-tasking skills. I find it very difficult to concentrate on more than one thing at a time, and am unlikely to be able to do my best work for you if I am listening with one ear to a CD that is playing in the background, even if it is my favourite music.

Speaking of petty annoyances, the following list of words are banned from any conversation you may choose to have with me: “micro-aggression”, “an intersectional hierarchy of oppression”, “unconscious bias”, “trigger warning”, “systemic oppression”, “the patriarchy”, “Donald Trump”.

English isn’t my first language: can you help me to write my profile?
Yes. This is a free extra service that is offered to all persons who request a shoot. If you would like any help with spelling, grammar, or punctuation, or if you would like me to write your whole profile from start to finish, I’m more than happy to do this for you. Just let me know what details you would like to include, such as work preferences, and I’ll try to write an eye-catching profile to the best of my ability.