I am so glad I actually got to shoot with Jessica Luch. The morning we originally had scheduled a shoot, I had pink eye and we had to reschedule.

Hair was done by Kara Gilbertson, with whom I have worked before on a job for Goldwell/KPSS. Makeup was done by the talented Aaron Wozlowski, whose work I have often admired from afar. The styling was actually done by a fellow model, Natalie Tzunio.

I always get nervous at shoots where there is another model doing something non-modelly. In the past, I have had negative experiences with "know it alls" who don't let me just do what I do. Rather, they overdirect me and totally reign in my creativity. So boring. So unfun. So annoying. But Natalie wasn't like that at all. She was very professional and focussed on making the clothes look as good as possible.

I have wanted to do a shoot where masculine and feminine intersect for a while. So I was pleased to be able to wear these clothes. I think everyone on the team had a really good instinct about the look that was being created. Not to mention the fact that Jessica is hilarious. Between these frames, I was laughing my ass off. Hard to keep composure when people are goofing off, but it's a more positive and fun environment that way anyway.

If you want to work with Jessica, I totally recommend that you do. She is extremely talented, friendly, and the turnaround on the photos is fast. Aaron and Kara and Natalie are all incredibly talented and the four of them made this one of my favorite shoots ever.

About a month ago, I shot with Jillian Mann and Marie Pierce on a creative portfolio shoot. I was so pumped when I walked into Jillian's apartment, which served as the set for the shoot. There were some really amazing taxidermy pieces around the place, as well as a gigantic boxer, and an amazing old American flag.

With sensibilities like that, I knew I was going to love the shoot with Jillian. She styled it herself, with these beautiful airy blouses and 1960s-esque head scarves. Shooting went quickly, more time was spent adjusting the lens filters than it was actually posing. So I guess that is good.

Speaking of lens filters, this cool effect was not produced (like so many photographers do nowadays) in Photoshop after-the-fact, but was done by putting a piece of lace with a hole in it and a piece of a blue plastic bag with a hole in it directly over the camera lens. It was a really interesting technique that I hadn't seen used before. Slightly ghetto, but actually really cool at the same time.

I'm really pleased with how the photos turned out. They reignited my passion for America and made me start craving Red Lobster and relaxed firearms legislation real bad. They made me want to throw a 4th of July party, but all of my friends said they were too Canadian too attend. Whatever. The photos are great and they can suck it.

Sneak peek of what is to come from a recent shoot with Alex Waber and Carolyn Secord.

I recently worked with the extremely talented Porus Vimadalal on a portfolio shoot. Porus is originally from Bombay or Mumbai or one of the major cities in India, anyway... I forget which. There, he worked for GQ India and some famous Indian fashion designers. So I was really excited to work with him.

He pulled some looks for me before the shoot, but also asked me to bring a few dresses in case the clothes he picked up did not fit. Above, the pretty black and white dress is from Zara. Porus pulled that one. The yellow dress is vintage Basile and the black dress is Tadashi. They both belong to me.

Hair and Makeup was done by Julia Rekaikyna, who recently moved to Canada from Ukraine. So we had a truly international fashion team. Julia did a fantastic job, and had wonderful attention to detail. She was touching up the makeup and hair pretty much until I was ready to start posing.

Julia did hair and makeup professionally in Ukraine, but moved to Vancouver and enrolled in a makeup school here. She is currently completing the last term of studies, which focuses on special effects makeup.

I would definitely work with either of these amazing artists again. The photos are some of my favorites in my portfolio and the experience was wholly wonderful.

I recently was asked by makeup artist Live Makeup and Fashion to do a creative shoot at Stanley Park. She did an amazing job on the makeup, and had a fabulous concept for the shoot. I love the vibrant colours and bright pink lips.

The photos were taken by a teenage photographer named Anna Shkuratoff. She was absolutely wonderful to work with, gave great direction, and and wonderful ideas for locations, moods, and poses. I'm always excited when I work with younger players in the industry who have such a high calibre of work. Of course, the older I get the younger everyone around me seems to get. Soon, I think, I'll be older than everyone in the industry. Please, God, no.

The hair was done by the sister-in-law-to-be of a friend from law school, whose portfolio can be found here.

The shoot was so enjoyable that Tessa, the makeup artist, and the wardrobe stylist wanted to work with me again! We are doing a colour-blocking shoot in a few weeks, and Tessa and I will be doing  a fashion shoot as well. I'm really excited to work with her again because she is extremely talented and super fun. I hope you enjoy the photos.

If you're not in love with the photography of Kim Akrigg, you're missing the gene that makes you appreciate art. Every image she touches turns into pure beauty. My recent beauty shoot with her and Chelsea Mandziuk produced some images that I think are absolutely divine.

We met at Kim's studio, which is actually her old bedroom. She's a wizard with lighting... all her fabulous effects are produced with only one softbox, a desk lamp, and natural light from the window. I really love working with Kim for this reason: something that seems a little strange when you are doing it is actually capable of producing some of the most amazing photographs of all Vancouver photographers.

This pink lipstick is really cool, but it took about a week for the stain from it to come off my lips. Was it worth it? I think so. I love these photos.

The lighting effect in these images was produced by Kim, using a desk lamp and a piece of cut-up paper bag. She cut round holes in it the morning of the shoot, and then Chelsea, the makeup artist and de facto assistant held the light while Kim directed and shot. I love the blonde wig. Should I go blonde? Can I handle it?

The same effect was used here, but with a piece of cardboard with lines cut out of it. Kim said that it took almost an hour to cut out the finely-placed lines from the cardboard. A labour of love, but so totally worth it, because this image is phenomenal.

Kim's style of shooting is my favorite. She gives very little direction, shoots quickly, and is able to instinctively sense when we've got a shot and I'm getting a little tired. Modeling for her is really easy. I just move around like an awkward turtle while she snaps off photos and somehow she makes them look like this. I swear to you, I do not look that elegant when I'm actually there.

Of course, Chelsea's amazing makeup helps. Both of these women are fabulous talents and I would absolutely recommend working with either of them. Kim is worth much more than she charges, and if I were looking to get test shots for my portfolio as a beginner model, I would definitely hire her.

When Vancouver photographer Abbye Dahl approached me with this concept, I was a little nervous. She told me she wanted to put me in a bald cap and cover it in fruit. To be honest, it sounded strange. But I really wanted to try it out, because things that often sound strange can turn out to be stunning. And I'm glad I did.

When I got there, I had just been released from two days in hospital. It later turned out I had shingles. So I was pretty tired. Kristina Capati started on the makeup, which was tailored to match the colors in the fruit.

We shot several with the bald cap on my head. It was my first time wearing a bald cap, and it was a very strange experience. This was compounded by the fact that the sticky fruit juice was on my forehead, neck, and face. I asked Abbye how she made the cap and she told me that she spent a few hours sewing the fruit slices onto the bald cap. I was impressed that she was able to figure out how to do that. I would have just glued the fruit to the cap and then whined as it fell off during the shoot. She's smarter than me, clearly.

After we were done, we changed the makeup and took a few without the fruit hat. This is probably one of my favorite beauty shots, period. I love the makeup that Kristina did, and despite the huge amount of product and produce in my hair, it still looks really great and not greasy.

I thoroughly enjoyed working on this creative with Abbye and Kristina. I've worked with Kristina once since the shoot and I highly recommend her. Abbye is extremely talented and a very interesting person. Either or both of them would be a fantastic part of any fashion or beauty team.

I get a lot of comments and emails from beginner photographers who are wondering the best way to make a model feel comfortable during a shoot. Now, I'm not sure if these people are trying to shoot glamour or what, because it's very rare that I feel uncomfortable during a shoot. That being said, I probably did not always feel so second-nature in front of a lens. So I have come up with a list of suggestions for those who are trying to help the models with whom they are working.

1. Look, but don't touch:
It's really simple. Don't get all touchy with the model. Don't put your hand on her knee or her arm or lead her to the set by the small of her back or whatever you do. Yes, all of this has happened to me. Hugs, unless initiated by the model, are also not appropriate. That being said, there are some acceptable forms of touching on set that won't make someone feel uncomfortable. A high-five after a particularly awesome frame or a fabulous set is perfectly normal. Similarly, if you're trying to get a good shot and the hair or a piece of wardrobe isn't working quite right, let her know you are going to adjust it and then do so. But really, and this leads into my second point, you should have someone at the shoot to do this for you.

2. Hire a makeup artist/hair stylist and a wardrobe person:
I get asked all the time to do my own hair or makeup for shoots. Depending on the photographer, I may do it. But I'd rather have someone else-- someone who knows what they are doing-- to do it for me. Most makeup artists can do hair as well, so you should be able to get someone who is capable of covering both bases. He or she can then observe the shoot and will keep their eye out to see if any hair is out of place, mascara is smudged, and other things that a model can't see from inside her own body. I find that MUAs are also great at building rapport with their clients, so they are in a much better position to reach in and adjust things without warning and without the danger of making the model uncomfortable. In fact, just having the additional bodies on set can help with a lot of the 

3. Never underestimate the value of music:
Shooting in silence can be really awkward. Having a CD or an iPod playing during a shoot can really relaxing. In fact, there are even certain schools of medicine built around the therapeutic properties of music. I'd be careful about what music you play though: nobody wants to model while there is violent gangster rap playing. Well, maybe some people do, but I don't think it sets a comfortable mood. The best strategy is to ask the model if she has anything she would like to put on while you are shooting.

4. Get to know the model:
I know it takes a lot of time to set up lights and backdrops and test everything before a shoot. You should probably arrive early to do this so that when the model and makeup artist show up, you are able to take some time to discuss the looks with them, the mood you are trying to achieve, and what you are really aiming at in the end. I think photoshoots are really beautiful in that everyone there has the exact same desire for the outcome: to achieve the best images possible. When you have a committed and invested team, the whole experience is very rewarding. Part of that means you spend some time on the actual shoot day, before shooting, just getting to know everyone. Offering to do a coffee run while hair and makeup is underway is a great way to break the ice.

5. Learn to give the right amount of direction:
Not every photoshoot is absolutely perfect. This is a really tricky thing and a lot of it is learned over time. It's hard to find a balance between the right amount of direction and not giving enough versus giving too much. Obviously it will depend on your model. Some models need a little guidance along the way. Some have been doing this for a long time and don't need to be told how to do each and every pose. I once had a shoot where I was directed in every single frame. It was terrible. I felt horribly uncomfortable and like I wasn't allowed to express my own creative energy. I've also been to shoots where I've had no direction at all and find that I run out of ideas before the photographer runs out of steam. Somewhere in the middle is good.

6. Pay attention to the energy in the room:
I find modeling to be totally exhausting. Some photographers, though, want to take several hundred frames of each look before changing it up. I start to get really uncomfortable and also a little irritated when a shoot is taking a lot longer than I thought and than I have the energy for. The pictures simply won't look as nice if your team is worn out after a long day. Combining all the elements above (particularly the use of a MUA and the right amount of direction) will mean that you will get better images faster. If your model seems tired, she probably is. Don't push her beyond her boundaries. If the outcome you are hoping for hasn't been achieved, suggest a short break and order a pizza. If you think you have quality frames, then you have got what you came for. There is no need to keep going.

There is so much more I could add, but these are the biggest ones that came to mind. Please feel free to chip in in the c

I was recently asked by stylist Vivien Phuah to work with her and makeup artist Sandy Phan on a creative, shot by both Frank Yeh and Jessica Kuan.

Shot at Blue Egg Studios in downtown Vancouver, we were lucky to be able to use a whole dance studio and the beautiful building as our backdrop. I particularly loved the deco detailing of the building. There are gigantic windows which provide a wonderful amount of light and several staircases that are really well-lit by these windows.

I really enjoyed this team. Not only did they incorporate a duster into the wardrobe (as pictured above) but they were all really fun to work with. There was supposed to be another model, but she cancelled at the last minute. I need to take a moment to say that in the modeling industry you never, ever cancel. When you commit to a job, you are signed up. Unless you have a medical emergency, there is simply no excuse for changing your mind.

That being said, everyone on the team was very professional. Sandy was extremely talented and Vivien has a great eye for pairing color and pieces that one wouldn't normally think go together. And Frank and Jessica really understood the lighting setups and the right angles and locations to capture some really amazing shots.

I would absolutely recommend working with any of these individuals. They are all extremely talented, as you can see from the images I have posted. They are also kind, professional, and gentle. Nobody asked me to do anything I wasn't comfortable with and they were very complimentary about my posing and all the work I was doing. I left with a really positive feeling, rather than frustration or worry that the photos wouldn't turn out well.

Well, I've received all the photos back from my Street Fashion shoot with Patrick Leung and Kyla Charney.

We started out by doing hair and makeup in my apartment. Patrick was pretty inspired by our decor, so we decided to do a few shots in the apartment before braving the nasty cold outside. I like the moody feel of the black and white shots we took in my kitchen best.

The outdoor portion of the shoot started out in Gastown, near the steam clock. It was absolutely freezing and those lovely Betsey Johnson platforms are about 2 sizes too small for me. So my feet were aching. We would pick a location, change into the shoes, and then shoot until I couldn't bear it any longer.

After that, we moved across town, taking photos as we went. Shortly after this shot, it got so cold that we determined we would go into Pacific Centre and take the opportunity to have a coffee and change wardrobe.

Following that, we headed down the Granville strip and shot there. Of course, that involved lots of staring and comments from folks around us, but I tried my best to ignore it and get the job done. The chair I am sitting on in the above shot is made of metal and was freezing cold. My ass was totally numb after this shot was taken. My hand too.

The day was wearing on and we were losing light, so we quickly changed into the third look, took a few shots, and then wrapped up. Of course, we were a 20 minute walk from the car, and I wasn't wearing any pants (see above), so it was a freezing trip back.

Overall, I enjoyed myself. I would have liked the weather to be a lot warmer, but that's life. I would definitely recommend working with both Kyla and Patrick. They are kind, fun individuals and I found them both really easy to work with. Conversation flowed well and we produced some images about which I am very proud. Patrick's main interest is lifestyle photography, so if you're looking for someone in that area... he's your man.