'I've only had one model that springs to mind who appeared obviously uncomfortable posing in the window.'
I don't know any specifics about the model that photographer Jack Saul refers in the above statement, but there are other factors that may play a role. An apertural aphrodisiac may come natural to some models, but we all know that in addition to being able to see in, and out of windows, they are also reflective.
Depending on the weather, the time of day, and degree of light, windows are also mirrors, meaning models can see their bodies and poses in real time. We all know how mirrors can impact how we see ourselves, but this reflective element is also a crucial component to my love of windows within the images of the male form. Many of the reasons I love window images are shared by Jack Saul. Although there are a myriad of reasons, Jack shares that there are three main reasons for his consistent use of windows within his work.
Firstly, the lighting effects which can often throw up interesting results (albeit completely unplanned & unintentional on my part, I generally get vastly more shots that don't work out at all, as you've probably noticed from the full sets, but it's worth it for the odd nice surprise),
Secondly, the opportunity it gives the model to express themselves. (use of the curtains) Thirdly, as an experiment in whether it brings out any erotic exhibitionist tendencies in the model (I'm sure you know the images I'm referring to, it's always spontaneous from the model).
Although creating a voyeuristic feel is part of Jack's work, he is careful that his models are not performing in front of too large of an audience. Generally, he tries to book a room on a high floor, no lower than the third floor, but preferably the nine or tenth if the building has that many floors. This ensures there are not people walking by at, or close to the same level of the shoot.
'Sometimes there are windows into other buildings close by, which can add a slightly voyeuristic element to proceedings. In the location I use most often however, there is just a car park below us outside, I learnt quickly to avoid the location that overlooks a playground, luckily we were on the ninth floor when I used it. (It did make the models slightly uncomfortable when they noticed). Other than that, no issues at all really.'
One of things I enjoy most about Jack's 'window work' is trying to decide whether I think the model is using their glass performance space to play to just the camera, or the audience on the other side. In some of the images it seems clear, in others I'm not as sure.
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