With a unique artistic vision for capturing fine art photos, Jane Lazenby truly creates art. Through the lens of her camera and through her exceptional compositing techniques, the ordinary transforms into the extraordinary, revealing hidden narratives and emotions.
In this interview, we delve into Lazenby’s creative process, inspirations, and the philosophy that drives her to create her fine art photos. Join us as we uncover the vision behind the mind of a truly remarkable artist.
Q1. How did your journey in photography start?
Ans. I started taking my own images to paint and draw from as a teenager using my dad’s 35mm film camera… While studying a fine art degree at Newcastle University, I began to shoot portraits and the figure for easel references, finding I was allergic to oil painting fumes, painting directly from the figure impossible, so I substituted live capture of the models to give me references from the figure to rework in a fume-free studio.
After university I set up a portrait painting business, Animal Fine Art, always preferring to meet, greet and shoot my subjects rather than working from another’s images. To me, a successful image was one I wanted to paint. I started to experiment with Photoshop in 2006, using it like a sketchbook of ideas for quick changes, rescaling subjects and changing colors, always planning to paint the finished edits and add in a few more twists with bold brush strokes or gold leaf.
Q2. How would you describe your style of photography?
Ans. I would describe myself as a fine art photographer, my knowledge in composition and using the light came from studying The Great Masters, amongst many others such as The Pre Raphaelites and Impressionists. I love to describe form by placing more importance on the shadows. I use a number of different processing techniques to create images that borrow from artists such as Caravaggio and Rembrandt. My art background translates into using multiple layers in software such as Photoshop (I am entirely self taught)
My subjects are predominantly the female figure or equine, my favorite being to harness the use of costume in combining both human and equine elements into one image.
Q3. What do you think are the challenges in shooting fine art/nude photography?
Ans. I think every photographer has a different challenge, I prefer to tone down the sexualisation of a naked body to create more emotion and narrative. I work with multiple layers, textures, double exposures and color grades to create more artistic and timeless images.
Q4. What would be your 5 tips for someone just starting out in fine art/nude photography?
Ans.
1. Find your story. Why are you taking the image and how can you explain this intention / story to the viewer?
2. Light brings emotion and atmosphere, make it compliment and increase your desired narrative.
3. Celebrate your model’s individuality and personality, don’t merely represent their exterior, but delve deeper into expression, posing and gaze.
4. Look for the detail, add props, research symbolism in art, add color with drapes or intrigue with backgrounds
5. Don’t be mainstream. Seriously, don’t. Expose yourself to thousands of images already created, be it art, mixed media, film, photography. Let your mind wander when reading poetry or literature, your imagination will start to subconsciously combine all of these images into one big melting pot, then pull out your own personal response. Be experimental in your editing, many times thing’s don’t work how you want them to, but many times, they do!
Q5. Which photographer’s work do you look up to the most?
Ans. This is a hard one…… I love the stories that Emily Soto creates, the fashion of Alexander McQueen, the silhouettes of Vivienne Westwood and the portraits of Marcin Nagraba.
Q6. Tell us about your favorite shoot you ever did. Why is it your favorite?
Ans. I’m very lucky to work with so many talented models and stunt teams… I’d had a major idea about combining ballerina’s with white horses.. The first time I shot this combination, back in 2017 was on one of my early photographic workshops with top UK stuntman Ben Atkinson, a white Spanish horse named Bonito and fabulous ballerina Alice Rathbone, one of the resulting images is still my best selling print and a multi gold medal award winner.
This shoot opened the door for me in terms of realizing my creativity and also in finding the right people to collaborate with in terms of their skill, patience, commitment and humor! I’ve revisited this idea a number of times since then, but I think the first time you realize an idea and the hairs go up on the back of your neck, that feeling stays with you forever.
Q7. What can we find in your camera bag for a regular fine art photoshoot?
Ans. My treasured Sony A7R4 with GM 70-200 2.8, 135mm 1.8 and 28-70mm lenses. My hardy TTL Pixapro trigger, my Lensbaby OMNI kit and essentials like needle and thread, gaffer tape, dress clamps, facepaint, wet wipes and hair combs (for horses and humans!)
Q8. Tell us more about your ADRIFT series. How did you come up with the concept and how was the experience shooting underwater?
I started shooting female figures underwater when I saw images on social media shot at Tankspace studio, an innovative hive of creativity based in Newark UK. The ethereal vibes, drifting figures, bright drapes and gelled lights exploded my imagination. My first shoot there was using a remote rig when I simply pressed the camera trigger via a special Zoom screen whilst sitting at home with a coffee! This was during one of the UK’s Covid 19 lockdowns. I knew I had to shoot in person as soon as I could!
Once restrictions were lifted, I booked myself in to shoot and was amazed to find an impressively large tank full of lukewarm water enclosed in a black gazebo. Shooting at 90 degrees to the glass meant no distortions or reflections, coloured gels could be dialed in from LED panels placed midway on the left and right sides through a small window. This was so exciting AND I didn’t need to get wet!
I started to gather garments to ask my models to wear, research poses I wanted to try and gather an assortment of bizarre props (birdcages, ornate frames, decorative daggers, headpieces etc)
I started to see that there were many other photographers inspired by this studio, deciding to use my Photoshop skills to make my images more unique by adding handmade overlays and textures, creating more depth, color and pattern to the images, compositing in extra fabric and figures so the restraints of the tank size melted away and I could create more ambitious pieces.
Q9. We noticed that you like to capture horses and they are a part of most of your work. Why this fascination with horses?
I was seriously allergic to horses as a child which gave me a lifelong obsession! I grew out of my allergies as a teenager and managed in my 20’s and 30’s to have a horse of my own. I think they are such beautiful creatures, so soulful and spiritual. If I psychoanalyzed many of my equine images, those silken clad figures sitting on the back of charging spirited equines are a form of self portraiture. As a kid I dreamed of these images, winding my fingers into imaginary manes as we leapt and jumped every obstacle I could see out of the car windows on long journeys, I was so thoroughly smitten that I collected dozens of pottery pony models, read every pony book, watched every show jumping and dressage sport coverage on the television, I really was truly pony-mad!
I have now been involved in the breeding, training, riding, competing, judging and painting of horses, which puts me in great stead for my bookings as an event photographer; this weekend I worked with the Portuguese School Of Equestrian art, I could feel every morsel of knowledge was put to good use not only to capture true classical movements, but also each horse and rider’s individual expression and the athleticism and timing of movements such as the capriole and courbette.
Q10. 3 of your top posing tips every photographer should know?
Ans.
1. Work out your main poses before you pick up the camera! Never walk in without some strong ideas.
2. Adapt and be flexible. Move your position, move the lights, if it works, shoot it then change it, don’t end up with 100 shots of the same angle and the same light.
3. Talk to your model, encourage small pose adjustments, don’t leave it up to them to choose poses, every other photographer will have the same! Think of character’s they could be and explain the nuances to your model, get them involved with the creative ideas. Many models only give you what they think you want, to have to get really involved in discussing and collaborating.
Q11. If you could choose another profession, what would it be?
Ans. I already have a creative photography education site, run workshops and qualified as a teacher in 2000. I’ve spent nearly 30 years as a professional artist painting portraits, I now work professionally as a photographer. Those were all the things I could ever wish to be. Lifting others up and helping them realize their dreams is true job satisfaction whether you are handing them a portrait, teaching them a new skill or capturing something inspired with your lens, it’s all in the same circle!
If I was really pushed for an answer, I’d say a fashion designer as I am fascinated by draping and clothing the female figure.
Q12. What message or feeling do you hope to convey through your photography?
Ans. Timeless beauty, escapism, female empowerment and romance!
Q13. What do you consider your biggest achievement so far?
Ans. I achieved my Fellowship last year with The Master Photographer’s Association with a panel of 20 underwater images, they expected me to submit my equine fine art, but I decided to throw in a curve ball and go with my heart. Mine was the first and only fine art Fellowship ever awarded. Risky maybe, as I often find my more expressive and artistic images are not fully understood by pure photographers, but that’s where I like to lurk in my own hybrid world of art and photography.
In wrapping up this interview with E J Lazenby, it’s clear that her photography goes beyond pictures, offering glimpses into fairytales. She has always been pushing creative boundaries and the work speaks for itself.
Her fine art photos are unique and full of narratives. It’s always more than just a picture. You can see her creativity oozing out of every shot. If you’re looking for creative inspiration for your art nude photography, Jane should definitely be a the top of your list.
Check out more of her work here.
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