Peter Coulson
Peter is an internationally renowned photographer based in Melbourne, Australia. We talked about his style, how he works with models, how he recognizes a good photo and much more.
Thomas Berlin: Peter, nice that we can talk about your photography. You are well known as a photographer and photo trainer. We will talk about your photographing approach in model photography. But as a start: Could you introduce yourself in a few words?
Peter Coulson: Thanks so much for having me, Thomas. I push buttons haha… I’m a fashion photographer from Melbourne, Australia.
Thomas: How would you describe your style in the model photography in general to a person who doesn’t see your work?
Peter: My work is mainly black and white, and a mix of beauty, fashion and my own ‘edgy’ stuff. I am a light, and eye Photographer. I look at light a lot, and then once I get my scene set up, with the lighting, I then provoke the eyes or watch for the eyes. The whole photo depends on the eye of the person I am shooting, it is more important than the light, background, makeup or styling.
Thomas: So the light is your starting point, as I understand it. Then we should definitely talk about your light setup later. But first, I'm curious what you mean by your "edgy" stuff ....
Peter: Non-woke haha… I have a series I’ve been working on for many years called ‘mirrors’, and the images in it have lots of different elements that will distract the viewer from my true meaning on the photo but everyones personal interpretation of it will tell me about themselves, like a mirror. On my webpage there’s a section titled ‘my stuff’ which has heaps of examples of my more edgy work.
Thomas: What should your images trigger in the viewers head?
Peter: It has to evoke something, or make you think something.
Thomas: Did you develop your style over the years or how did you get into it?
Peter: I used to turn my photo black and white to see if it ‘popped’, and if it did, it meant the picture was working in colour. When I edit, I also put a Black & white layer on to be able to see the imperfections better, then turn it off. I eventually couldn’t turn the black and white off because I liked it better than the colour version. My style has evolved from stronger fashion & fetish to a little more woman & beauty, but I still have a lot of fun doing the fashion & fetish, I go through waves.
Thomas: The pictures show younger women who most people find beautiful, sensual and somehow idealised. Is that view correct and why are you in this genre and not in others?
Peter: I don’t see my work as sensual, I like photographing women that are strong and beautiful on the inside, and then bring that out through their eyes. In the beginning I was fascinated with shooting both women and men, but I found that if I shot a really nice photo of a female they would get all excited and take selfie shots off the screen and loved the picture, where as I got continually frustrated when I shot male models, they would look at the photo and say ‘my eyebrow is crooked, can we do it again?’ they were never happy with the shot.
Thomas: How do you create yours ideas for a shoot? Are you more intuitive or do you approach a photo shoot conceptually?
Peter: Normally I’ll see something, and a lot of the time I can just write down a single word or two words and every time I see those two words it’ll remind me of what I’ve just seen. Then I go into my storyboard folder and collect imagery that reinforces the way I’m interpreting whatever inspired me to have the thought in the first place and also so I can use it as reference photos for models and stylists alike. Then it’s just a matter of finding the right team for that look, so working out what make up artist, what hair stylist, what model, what location, what props. Some of them are really simple and I don’t need much, but others might take me years because while I have the idea, I haven’t found the right model that suits my idea, so it’s very varied. But sometimes concepts just happen. You might be trying to do something and then one thing moves and everything changes, your whole shift changes and you’re like ‘wow that’s 100 times better than what I was thinking’. Some of my best concepts are the ones that evolve during a shoot.
Thomas: Peter, how can I imagine a shoot with you in terms of interaction with the model?
Peter: I work a lot differently to other photographers. When a model comes in for a test shoot, I have her go through my inspiration folder and let her pick the feel and style of what she wants to do. The folder is photos I’ve collected so I’m going to like it regardless, it just lets me know what style she would like so we can collaborate. I normally spend about 30minutes talking with the model, breaking the ice and getting to know them a bit. Then I’m always talking to the model throughout the shoot, if I see them getting lost I ask ‘who are you looking at?’. I don’t want them to answer me, but I want them to think about it - if they think they are in a studio on a photoshoot that’s a fail. They need to be looking at someone or something that will give them an emotion.
Thomas: What is a good picture? When are you happy with your work?
Peter: Eyes, eyes, eyes, eyes, eyes. If you get the eyes amazing it doesn’t matter what the hair or make-up looks like, or what they are wearing or what the location is, the eyes are going to tell the story. That’s when I’m happy with my work. All I’m trying to do is stop people on my work for 10 seconds, if I do that I win.
Thomas: Do you also photograph other motifs?
Peter: I shoot all different themes, I love shooting dancers, and have a lot of different series that have been works in progress for years.
Thomas: You are traveling worldwide as far as I know. Even if it´s not exactly your genre: Do you see a different approach or behaves in different cultures in sensual photography? Do you have an example?
Peter: Yes absolutely. American culture sees skin and instantly thinks of sex.
Thomas: Let’s get to the technical side of your photography: Which camera and lenses are you using mostly?
Peter: My Hasselblad H6D-50c is my favourite camera in the world, but unfortunately it’s been discontinued. I have two of them at the moment, I’m thinking of getting a third because there’s no spare parts so when my two eventually die, that’s it. For that reason, I don’t take them out of the studio. I’m also loving the Leica SL2 and SL2-S. Lens wise, most of my work is shot around 80mm.
Thomas: How do you deal with light? And what is your most important light setup?
Peter: Nothing beats natural light, I will always shoot natural light whenever I can. But commercially we can’t rely on it as it might be an overcast day when we need full sun, so having the ability to replicate that in the studio and move lights & walls is super important. My other ‘go-to’ is a 5foot Octabox and v-flats, I can do so much with those. I prefer to just use one light.
Thomas: Is there a practical or creative reason why you only use one light?
Peter: We live under the sun, which is only one light. Using only one light makes my life easier and gives me so much more room to move. All my one light set ups always have more than just one look I can get with it, which allows me to work super fast for my clients.
Thomas: What does your workflow look like after the shoot?
Peter: I back everything up in 3 different places, global work in RAW and then predominantly dodging and burning in photo shop.
Thomas: What are the most important parts regarding interacting with the model, technical aspects and postprocessing?
Peter: Interacting with the model is the most important thing, the subject is the most important thing in my photos. Then technicals. Postprocessing is the least important to me.
Thomas: You share your knowledge in workshops, among other things, and have got to know many participants. What distinguishes photographers who develop successfully from others who don't? Is it a question of mindset or fundamental strengths/weaknesses?
Peter: It’s the people that are dedicated and have passion will always get there. Skill means nothing. I always tell people to keep shooting what you love and don’t listen to anyone else. And that it will probably take about 10000 hours of practice, just like anything else in the world.
Thomas: Let’s get to yourself. How did you get into photography?
Peter: My first experience with photography was when I borrowed my dad’s Minolta for a Chuck Berry’s gig. I was photographing musicians and bands on the side initially. The passion grew over time, I just wanted to create.
I did go to photography college when I finished high-school, but was kicked-out after 2 months because I kept asking “why”. They could never answer my questions, and it was frustrating that I couldn’t get the answers. After this I went to Sound Engineering school. Photography became a hobby at this point, and continued being a hobby throughout all my careers. Once my business (fishing) needed photography, I shot them, and that was where I started working ‘commercially’. A magazine approached me wanted me to shoot for them in the style I was shooting, and it all evolved from there.
I made the transition from shooting lifestyle to fashion and people because I was enjoying creating, rather than capturing what was happening. After 1 fashion shoot, I was addicted. I liked the creativity and control. And like anybody, I start shooting everything from babies, real estate, corporate headshots, any photography work that would pay my rent and bills. As I got better, I was able to hone into the clients I actually wanted to shoot for, allowing me to drop off the work I didn’t enjoy doing
Thomas: What do you want to achieve photographically in the next few years?
Peter: I just want to keep shooting my shit!
Thomas: What do you like to do privately when you are not taking photos?
Peter: I have a racing car simulator that I try get on for an hour a day, I love formula one and super cars, any chance I get to watch a race I will. I also really love music, listening to it and writing it. I don’t get much time to write much these days but it’s a great escape whenever I can.
Thomas: Peter, thank you very much for your insights. Is there anything else you would like to mention?
Peter: Take a deep breath and be true to yourself. If you don’t like it, don’t shoot it. I still waste too much time shooting things I do not like. Sometimes it is better to watch a movie, a Youtube, something that inspires you rather then wasting your time on shooting something that will uninspire you and question what you do. Thanks so much for having me.
You can find Peter on his website and on instagram. Feedback is welcome here.
