Prints and whirlwinds and graveyards

An outdoor shoot in a graveyard in November seemed like a very good idea in early October. Even back then, it shouldn’t have seemed like a good idea. It was cold and wet, although not quite miserable then. But it did, so I organised one.

Abney park cemetery is gorgeous in it’s overgrown, slightly dilapidated wildness and the leaves shimmering with misted rain, poking out of gloopy mud just added to the foreboding aesthetic. It also made it, muddy, slippery and damned difficult to navigate. The cemetery is a maze anyway, but carting around props while trying to shoot means it’s easy to get grubby and lost in there.

But, despite a few mishaps, we made it out just before dark with images. As I work through them all, I can’t help posting them on Facebook or Instagram one by one instead of waiting to upload them in one go. They’re all edited as individual images anyway, instead of a series.

Model: Cathleen Voysey

Model: Cathleen Voysey

I had beautiful taxidermy props courtesy of Mole and Dove, the above image features a bird headdress and I have some white mice cropping up in more images.

After being asked about the possibility of buying prints a few times I’ve had ideas of possibly setting up an Etsy shop, selling images printed by Printspace. But they’ve just gone and made it a whole lot easier for me by allowing me to upload images and they sort out the printing and posting element via their new Hub service. I’ve just picked up a couple of test prints and I love them, I rarely see my work anywhere other than a computer screen so it’s slightly weird seeing them in real life.

You can now buy prints here: Stevie-Ella Photography on Printspace

Only one in there at the moment, but I’m trying to go through and get correct printing sizes for every image so they print at the very best quality. If you would like to request a particular image, just drop me a message here.

Currently available:

'Might as well call a whirlwind' Model: Cathleen Voysey

‘Might as well call a whirlwind’
Model: Cathleen Voysey

A lot of likes and figuring out photoshoots

Erm, so it’s autumn. A bit of a wintery autumn, but still, autumn.

I love this time of year; it’s halloween, bonfire night (give me a bonfire over a firework show any day), wool coat, wool tight and furry, fluffy scarf season. But still, where did it come from? Summer only just got into swing right?

Anyway, with the approaching of the end of the year I’ve found my drive to shoot more has amped up and I’m embarking on more organised shoots. I’ve orchestrated shoots with my sister’s friends as models and shot experienced models as part of shoots organised by other people. Now is the time to take those experiences and merge them into something bigger. I’m currently casting for ‘something bigger’ in November, I have a model, wardrobe and make-up artist options, plus the possibility of working with an ethical taxidermist at some point. It’s all exciting and terrifying at the same time.

I’m very aware that I need to produce Good Things from these photoshoots. I’ve produced shots I like from every shoot so far, but I still worry I won’t. But it’s the point now where I have to try.

And as for likes, one of my favourite photos was posted by Dark Beauty Magazine:

goodnight facebook-likes

So it racked up about seven thousand odd likes and drew lots of Dr Who comparisons – the bit I’m most pleased about. I work with social media and I know likes aren’t what they seem, but it’s nice to have that boost sometimes.

And I finally set up my own Facebook page for Stevie-Ella Photography.

This year seems to have set me up well photography-wise, let’s see if I can finish it just as well…

Phonebox graveyards and corsets

Give me something old and broken and I’m in visual heaven.

I’ve always loved the way old things have patina, as if their stories become worn into them. Life leaving it’s mark.

Well, recently I got to shoot some stunning models in corsets in a phone box graveyard thanks to a shoot set up by Sarah Wright. Phone boxes covered in flaking red paint, housing smashed panes of glass and frayed wires where the phones used to be. Perfect shoot location for me.

It’s also been an opportunity to attempt to edit images in a similar style. I usually shoot with one image in mind and when I first started editing these images I simply selected individual images and edited them in whatever style I felt like that night. But, I wanted them to feature as a fashion story on To The Bone and once I put them side-by-side they didn’t really work together.

Some didn’t work because the shift in lighting changed the feel of the picture. It was an incredibly hot, sunny day so there was plenty of direct light, but then the sun would pop behind a cloud and the whole group of photographers would break into a snapping frenzy, making the most of the soft, diffused light.

doll veil-up

Unless I have something specific planned, I like playing with whatever light I’m dealt with, but they just didn’t have the same feel and placed together they jarred on me. So I reselected.

Others, I realised, looked better if I changed them to night. But I liked others that were better as day images as well, so I planned a progression, editing so that images went from day to night, while hinting at a story.


Here’s a before and after where I changed an image from day to night:


I think it works as a series, but I haven’t been able to resist editing a few as images in their own right. Here’s one of my favourites:


I tried a new editing style and added in four hands from a totally different set of shots and generally I’m rather pleased with it. Next, I have some complicated composites from the last Brooke Shaden meetup. Or I could actually get around to finishing the conceptual image I shot in June, depends if I can actually decide how to finish it…

Models –

Miss Deadly Red

Lucy Scarfe