Í lausn Bath Portraits By Kentsoul

Love Lissa in “If You Wear That Velvet Dress”
Lelani in “Redondo Beach”

«I love your work because it is a blend of edginess and classic beauty. There is the mix of modernity and punk and pure timeless femininity. And the way you allow the model to be a partner in the work, not just an object.»

Flora in «Catherine Wheels»
Marzipanned in “Ways to be Wicked”

«The way the tub often frames the shot like a religious icon.»

Maggie Tracey in “Champagne and Wine”
Freshie in “Lucky Star”
Audrey in «Chemistry Class»
EmmVelvet in “Whole Wide World”

«There is lushness in the flowers and the flesh.»

Sienna Hayes in «Lucky Number»
Astraia in “When You Were Mine”
Ascha in “Nobody’s Child”
Brianna in “Little Red Corvette”

«The post modern water nymph.»

Dakota in “11:59”
Cian in “Dream Baby Dream”

«And then they are technically exquisite—you have a great eye for color and form and telling a story»

Rachel D “Sugar Hiccup"
Anya in «Devil Doll»
Kaitlin in “Dream in Blue”
Ramona in “In the Flesh”
Tigger in “Inertia Creeps”
Love Lissa in “Night Nurse”

Though I started out shooting mostly black and white [like everyone else], I switched to color partly as a challenge to myself [getting the balance right with the hot lights I use takes some effort], but moreover as a challenge to the viewer. People are much more comfortable with black and white photographs, which come with built-in “art insurance” [especially when the photographs in question have nude/erotic/fetish/etc content]. By shooting in color, viewers are forced to decide for themselves, without a net, if what I’m showing them is artistically valid.

Rhodanthe in "[I'm Always] Touched By Your Presence Dear"
Anoush Anou in “She Will”
Sienna Luna in "Look Good in Blue"
Stevie in “B Movie”
Freya in “Dirt in the Ground”

It's occurred to me that when I'm working, the model has almost no idea what's happening or what I'm seeing/shooting. Because they're mostly submerged, they also can't hear me very well, which prompts the use of a few hand signals to direct them. Other than that I leave it to them to decide what poses and movements are appropriate. The results of this “trust loop” are always interesting and when everything is ideal, explosively beautiful.

Anna in “Living in Stereo”

I shoot lots of images when I work. Most photographers take pride in getting “the shot” with as few exposures as possible, but I usually have no idea which image is “the shot” until I’ve started the editing process...sometimes I don’t find “the shot” until I’ve left the images alone for awhile and then returned to finally “see” them clearly.

Lilith in “Sleeping Satellite”

My motto is "I shoot who shows up" but I'd love to find more diversity in the future: models of color, male identified models, different body types...eventually I'd like to make the bath project universal with everyone represented.

Gazelle in “Mechanics”

Every time I think I'm finished, I do another shoot and find I have more to learn and new things to try. So I guess I'm not quite done yet....

Green Eyed Goddess in “Time the Avenger”
Evyenia in “Flood Plains”
Leo Velo in “Chez Sans Frontiers”
MsNacke in “Placebo Effect”
Melancholic in “And We Danced”
Lelani & Reese in “Bela Lugosi’s Dead”
Ella Voss in “Like a Hurricane”
Cian Ballantine in “The Answer”
Daytime Lauren in “Queen of Hearts”
Freya in “Stars are Stars”
Miranda Macabre in “Marquee Moon”
Z. in “Oh Daddy”
Lillith in “Best of My Love”
Madi in “When You Were Mine”
Serena in “Waking the Witch”
Sienna Luna in “Mystery Girl”
Celeste in “Jealousy”
Taylor in “Carried Away”
Anoush Anou in “Never Fall in Love Again”
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