THE CLOTHING STORE

The Clothing Store is a second-hand fashion space built around inclusivity, offering clothing for all genders, sizes, and heights. Its constantly changing collection makes every visit feel new. This commission took place at Bristol Harbour and documents my experience photographing a fashion campaign for the store, shaped by the location, the people involved, and the unpredictable nature of the day.

The shoot came together on short notice. Nicole Medin was originally booked to model, with another photographer set to handle the commission. A last-minute family emergency meant they had to cancel, and because of our previous collaborations, Nicole contacted me to step in. I agreed, knowing I would need to adapt quickly without a detailed plan. After speaking with the business owner, we confirmed the terms: the images would be used commercially, and I would receive credit and portfolio use.

For this commission, I used my Nikon D7100 with an 18–105mm lens. While it isn’t my usual setup, the daylight conditions allowed it to perform reliably throughout the session, and the spontaneity of the day ultimately contributed to the character of the final images.

Due to traffic and events around the harbour, everyone arrived separately. I was picked up by boat along with the male model and taken to the first shooting location. Nicole and another business owner joined shortly after.

Each model had eleven outfits to photograph. To keep the process efficient, I planned to photograph each look across multiple locations and angles, sometimes combining both models in a single frame before outfit changes.

The first images were taken near Temple Meads, where I paid close attention to colour, light, and background distractions to keep the focus on the clothing.

I began by photographing Nicole seated against a purple wall that complemented her outfit. I worked through close portraits, full-body shots, and wider frames to include the surroundings.

Nearby, a bridge offered another opportunity. I positioned Nicole beneath it and took a low-angle shot using the curve of the structure as a visual frame. I then photographed the male model using a similar approach before bringing them together for shared images.

The goal was to showcase the clothing while still using the city as a strong visual element. Bristol’s industrial tones — greys, blues, and steel structures — created a striking contrast with the outfits.

One standout look featured a bright red coat, which immediately became the focal point against the muted background. I captured wide shots to place the model within the cityscape, followed by closer images to highlight the details of the outfit.

The shoot then moved into more sporty looks, with both models styled accordingly, before relocating across the river.

On the opposite side of the river, two concrete pillars became the next backdrop. Photographing from a moving boat added a layer of difficulty, as keeping images sharp required constant adjustment.

We tried multiple poses — leaning, sitting, and finally positioning each model on opposite pillars. Shooting through the railings created a natural frame. While only one image came out fully sharp, it became a key photograph from that sequence.

As the models changed outfits, rain began to fall. We took shelter under a bridge, where I continued shooting using the graffiti-covered walls and boat as a backdrop.

The lighting was uneven, with strong contrast from both sides of the bridge. To regain balance, I moved the models onto the pavement, facing the boat. One of the strongest images from this moment featured the male model in an orange Nike t-shirt, which worked well against the grey and orange surroundings.

Once the rain eased, we found a wall where the colours matched the outfits perfectly. I photographed Nicole and the male model separately, experimenting with light, shadow, and framing, before bringing them together in the same composition.

I varied poses, camera orientation, and eye direction to create a range of images — some direct, others more reflective. This sequence became one of the strongest parts of the shoot.

The final location featured a clean white wall that worked especially well with Nicole’s black-and-white outfit. I first photographed both models flat against the wall, then asked them to lean into the corner to create a soft shadow gradient.

Due to the limited space, I focused on individual portraits rather than combined shots. The simplicity of the background allowed the clothing and posture to stand out clearly.

As the weather worsened, it became unsafe to continue. By that point, we had successfully photographed five outfits for Nicole and six for the male model.

We returned to the harbour, but strong wind and rain made further shooting impossible. For safety reasons — and to protect the clothing — I decided to end the shoot and reschedule the remaining looks.

Despite the early finish, I was happy with the images we captured. Both models were easy to work with, and the business owners were supportive throughout.