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danieljaems
Daniel Jaems
London 🇬🇧.
DM or email for commissions, prints and enquiries.
Photography © Daniel Jaems, and protected with iMAtag.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
Give some love to @itsmetylerjames. Our day in the hills and night on the beach.
I'm known for my studio work. But I also love the great outdoors. @alexsandro_duarteee
There is something wonderful about the improvisation Outdoors demands. The sun is a fickle beast and she peekaboos over the best laid plans. It forces creatives to be dynamic, when they'd sooner favour the precision in trial and error that a studio setup can offer.
We came up with this shoot whilst chasing a 30 minute window before the light disappeared with the sun.
Alex was such a great sport, saying YES to all of our ideas of running over rocks and jumping into the swells of the sea. Literally hanging by a thread (slide 4).
That synergy of model and photographer is priceless in these kinds of setups where both have to think with trust and intuition.
I promised him that we wouldn't put out a crappy image, and that our brief hour-long tussle with the little remaining daylight would harvest campaign worthy imagery in style and execution (it's a big claim to say that so I was nervous a little, especially as we were losing light fast).
But I love that about photography. Sometimes what you see in the monitors is not how the end image would look, a shift of setting in post-production unlocks new colours and a mood that you could of never planned at the point of the clicks. You have to both trust what your eye sees in the moment (the source material) and above everything, feel what your heart says is working, even when looking at the camera's tiny 3inch screen makes your inner technician question yourself.
Usually I work with large monitors that show me the ins and outs of everything I capture, but it's impossible to lug that around on these kinds of terrains. Alex will vouch for me. I'm not a photographer that likes to setup and keep still. We were running all over the place like action men.
Thankfully I've never had a shoot that has completely capsized from what my mind has said I was happy with in the moment.
It also helps to work with people like Alex who are so in-tune with their body that a shoot feels fluid, like we are shooting a film, not a series of stills.
Till text time, brother. X
I'm known for my studio work. But I also love the great outdoors. @alexsandro_duarteee
There is something wonderful about the improvisation Outdoors demands. The sun is a fickle beast and she peekaboos over the best laid plans. It forces creatives to be dynamic, when they'd sooner favour the precision in trial and error that a studio setup can offer.
We came up with this shoot whilst chasing a 30 minute window before the light disappeared with the sun.
Alex was such a great sport, saying YES to all of our ideas of running over rocks and jumping into the swells of the sea. Literally hanging by a thread (slide 4).
That synergy of model and photographer is priceless in these kinds of setups where both have to think with trust and intuition.
I promised him that we wouldn't put out a crappy image, and that our brief hour-long tussle with the little remaining daylight would harvest campaign worthy imagery in style and execution (it's a big claim to say that so I was nervous a little, especially as we were losing light fast).
But I love that about photography. Sometimes what you see in the monitors is not how the end image would look, a shift of setting in post-production unlocks new colours and a mood that you could of never planned at the point of the clicks. You have to both trust what your eye sees in the moment (the source material) and above everything, feel what your heart says is working, even when looking at the camera's tiny 3inch screen makes your inner technician question yourself.
Usually I work with large monitors that show me the ins and outs of everything I capture, but it's impossible to lug that around on these kinds of terrains. Alex will vouch for me. I'm not a photographer that likes to setup and keep still. We were running all over the place like action men.
Thankfully I've never had a shoot that has completely capsized from what my mind has said I was happy with in the moment.
It also helps to work with people like Alex who are so in-tune with their body that a shoot feels fluid, like we are shooting a film, not a series of stills.
Till text time, brother. X
I'm known for my studio work. But I also love the great outdoors. @alexsandro_duarteee
There is something wonderful about the improvisation Outdoors demands. The sun is a fickle beast and she peekaboos over the best laid plans. It forces creatives to be dynamic, when they'd sooner favour the precision in trial and error that a studio setup can offer.
We came up with this shoot whilst chasing a 30 minute window before the light disappeared with the sun.
Alex was such a great sport, saying YES to all of our ideas of running over rocks and jumping into the swells of the sea. Literally hanging by a thread (slide 4).
That synergy of model and photographer is priceless in these kinds of setups where both have to think with trust and intuition.
I promised him that we wouldn't put out a crappy image, and that our brief hour-long tussle with the little remaining daylight would harvest campaign worthy imagery in style and execution (it's a big claim to say that so I was nervous a little, especially as we were losing light fast).
But I love that about photography. Sometimes what you see in the monitors is not how the end image would look, a shift of setting in post-production unlocks new colours and a mood that you could of never planned at the point of the clicks. You have to both trust what your eye sees in the moment (the source material) and above everything, feel what your heart says is working, even when looking at the camera's tiny 3inch screen makes your inner technician question yourself.
Usually I work with large monitors that show me the ins and outs of everything I capture, but it's impossible to lug that around on these kinds of terrains. Alex will vouch for me. I'm not a photographer that likes to setup and keep still. We were running all over the place like action men.
Thankfully I've never had a shoot that has completely capsized from what my mind has said I was happy with in the moment.
It also helps to work with people like Alex who are so in-tune with their body that a shoot feels fluid, like we are shooting a film, not a series of stills.
Till text time, brother. X
I'm known for my studio work. But I also love the great outdoors. @alexsandro_duarteee
There is something wonderful about the improvisation Outdoors demands. The sun is a fickle beast and she peekaboos over the best laid plans. It forces creatives to be dynamic, when they'd sooner favour the precision in trial and error that a studio setup can offer.
We came up with this shoot whilst chasing a 30 minute window before the light disappeared with the sun.
Alex was such a great sport, saying YES to all of our ideas of running over rocks and jumping into the swells of the sea. Literally hanging by a thread (slide 4).
That synergy of model and photographer is priceless in these kinds of setups where both have to think with trust and intuition.
I promised him that we wouldn't put out a crappy image, and that our brief hour-long tussle with the little remaining daylight would harvest campaign worthy imagery in style and execution (it's a big claim to say that so I was nervous a little, especially as we were losing light fast).
But I love that about photography. Sometimes what you see in the monitors is not how the end image would look, a shift of setting in post-production unlocks new colours and a mood that you could of never planned at the point of the clicks. You have to both trust what your eye sees in the moment (the source material) and above everything, feel what your heart says is working, even when looking at the camera's tiny 3inch screen makes your inner technician question yourself.
Usually I work with large monitors that show me the ins and outs of everything I capture, but it's impossible to lug that around on these kinds of terrains. Alex will vouch for me. I'm not a photographer that likes to setup and keep still. We were running all over the place like action men.
Thankfully I've never had a shoot that has completely capsized from what my mind has said I was happy with in the moment.
It also helps to work with people like Alex who are so in-tune with their body that a shoot feels fluid, like we are shooting a film, not a series of stills.
Till text time, brother. X
I'm known for my studio work. But I also love the great outdoors. @alexsandro_duarteee
There is something wonderful about the improvisation Outdoors demands. The sun is a fickle beast and she peekaboos over the best laid plans. It forces creatives to be dynamic, when they'd sooner favour the precision in trial and error that a studio setup can offer.
We came up with this shoot whilst chasing a 30 minute window before the light disappeared with the sun.
Alex was such a great sport, saying YES to all of our ideas of running over rocks and jumping into the swells of the sea. Literally hanging by a thread (slide 4).
That synergy of model and photographer is priceless in these kinds of setups where both have to think with trust and intuition.
I promised him that we wouldn't put out a crappy image, and that our brief hour-long tussle with the little remaining daylight would harvest campaign worthy imagery in style and execution (it's a big claim to say that so I was nervous a little, especially as we were losing light fast).
But I love that about photography. Sometimes what you see in the monitors is not how the end image would look, a shift of setting in post-production unlocks new colours and a mood that you could of never planned at the point of the clicks. You have to both trust what your eye sees in the moment (the source material) and above everything, feel what your heart says is working, even when looking at the camera's tiny 3inch screen makes your inner technician question yourself.
Usually I work with large monitors that show me the ins and outs of everything I capture, but it's impossible to lug that around on these kinds of terrains. Alex will vouch for me. I'm not a photographer that likes to setup and keep still. We were running all over the place like action men.
Thankfully I've never had a shoot that has completely capsized from what my mind has said I was happy with in the moment.
It also helps to work with people like Alex who are so in-tune with their body that a shoot feels fluid, like we are shooting a film, not a series of stills.
Till text time, brother. X
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
Part 3. The wonderful Martin Enitan @martinenitan. The halo was incidental, but would be quite at home with the awesome work of @bambiachy
🔗 FRAEMS.com fine art prints....
I would love to know which pieces stand out as your favourites from this set? My personal favourites are Jugular, Dolphin, Atrium & Torque.
🔗 FRAEMS.com fine art prints....
I would love to know which pieces stand out as your favourites from this set? My personal favourites are Jugular, Dolphin, Atrium & Torque.
🔗 FRAEMS.com fine art prints....
I would love to know which pieces stand out as your favourites from this set? My personal favourites are Jugular, Dolphin, Atrium & Torque.
🔗 FRAEMS.com fine art prints....
I would love to know which pieces stand out as your favourites from this set? My personal favourites are Jugular, Dolphin, Atrium & Torque.
🔗 FRAEMS.com fine art prints....
I would love to know which pieces stand out as your favourites from this set? My personal favourites are Jugular, Dolphin, Atrium & Torque.
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
(Part 1 of 2). Can someone have a naturally romantic face? I often attribute the word wonderful to the models I photograph. There’s something wonderful about Ricardo’s face that feels quietly romantic. Strong lines, soft skin, a calm expression that isn't asking for attention. It can be tricky for a model to pull off that expression without looking completely Moody and disengaged. But I really like how he was able to achieve it here. When I photographed him, it stopped feeling like a photo and started feeling closer to a Renaissance Cherub. His features feel old world, almost Roman. Ricardo Dines. 2020. @ricardo_dines
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