Til Death began with Kyra.
She and Talie had met during an open boudoir session with another photographer and immediately connected. Kyra developed the concept, invited Talie to join her, assembled the wardrobe and brought the idea to me to photograph.
From there, everything clicked.
Against an almost entirely black environment, we built the series around black wardrobe, selective colour and the chemistry between them. Deep red light transforms some frames completely, while the illuminated Til Death sign gives the series its name and its central suggestion: romance with something darker lurking beneath it.
There was no elaborate narrative to manufacture. Kyra and Talie already had the rapport the photographs needed, leaving me to concentrate on lighting, composition and translating Kyra’s idea into images.
It remains one of my favourite collaborations.
Til Death also became an unexpected professional milestone. An acquisitions editor from Bold & Beyond discovered the work and contacted me directly about publishing the series—the first time an editor had approached me to solicit a set. After speaking with Kyra and Talie and receiving their consent, I accepted.
For a project born from two models hitting it off and deciding to create something together, seeing it subsequently attract editorial attention felt particularly fitting.
Sometimes the strongest shoots are the ones where everyone brings something to the room.
