skip to Main Content
Dusk Till Dawn Fashion Editorial – Elle Magazine

Dusk Till Dawn Fashion Editorial – Elle Magazine

My newest editorial has just been published in Elle Indonesia’s November/December 2017 edition, and I’d like to give you a quick look behind the scenes of the making of this beautiful shoot! I’d had this concept on my to-do list for awhile, so it was great to finally bring it to life!




I began developing the concept of a ‘monochromatic’ editorial shooting all nude tones upon nude tones. My entire color palette for creating would be solely browns, beige, nude.

First I built a mood/vision board for my creative team to show them the direction of this shoot. The skin would be warm, golden and mostly natural tones. The clothing would play with browns and beiges in different textures.

Creative Team

Once I had formulated my concept, it was time to reach out to my creative team to help execute the look. For this shoot I worked with Johnny Gonzalez for the stunning hair and makeup and Lisa Smith Craig styling these striking looks. After my team was selected, it was time to find a model. I absolutely LOVE Tereza Bouchalova’s statuesque and carved features. Furthermore her hair and skin tones were perfect for this concept and the shoot’s color palette.

Photography: Lindsay Adler
Hair and Makeup: Johnny Gonzalez
Manicurist: Angel Williams
Model: Tereza Bouchalova for Women 360 NYC
Styling: LSC Styling for 4Season Style Management, Assisted by Raine Francisco
Retouching: Nadia Selander


3 Profoto D1 Airs
Main: Beauty Dish + Grid
Background: 3ft Octa + Zoom Reflector

In this shoot I couldn’t let the lighting dominate the scene— no bright colors or unusual patterns that would distract from the concept. Instead, I used a single main light of a white beauty dish and a grid to help me create dimension and shadow on my model, further sculpting her incredible features (and WOW are they defined!). Honestly she’s like a living statue her features are so amazing!

I used a Savage seamless paper beige backdrop lit from either side with to give me even illumination across the background- a 3ft octa on the left, and zoom reflector on the right.

In short this lighting setup was actually very simple; an evenly lit background with a single main light to create a bit of drama and sculpting.


Nadia’s careful skin work and retouching put the finishing touches on the shoot to keep the skin warm and perfect so that all tones stayed in the shoot’s color palette. She kept a beautiful rich texture to the skin while still creating a flawless consistency across it.

Favorite shots

From any given fashion editorial, we usually shoot between 6-10 different looks where we have changed either the hair or the makeup. In a full day shoot, I usually capture 700-1200+ frames— I shoot a lot in order to capture nuances in expression or movement. Obviously this number varies depending on what we are shooting and how many looks… but I always shoot a LOT!

From all of these frames I separate out my favorites from each look. Within each look/style I usually select 1 or 2 different images to deliver to the magazines to select from. Even when I’m producing more than a dozen final shots, there are always a couple that are my favorites In fact only 1 or 2 make it into my portfolio, and that’s only if the shoot was a success and fits my style. In this instance I have two shots I really love (see below).

What do you think? Which ones should make the cut?


Elle Indonesia Dusk Till Dawn Fashion Editorial - Model with wearing bracelet hand on head


Elle Indonesia Dusk Till Dawn Fashion Editorial - Model with hand on neck






This Post Has 6 Comments
  1. nice set, Lindsay! looking at this set i could swear that you´ve used a negative (black) fill on the right side of the model!

  2. Really beautiful results! Do you ever find that there are certain modifiers that the flat-front Profoto lights work better with or don’t work with well at all? I’d think a beauty dish behaves quite differently with a B1 or a D2 compared with one of the domed pro heads. Have you compared?

    1. Hey there. SO I haven’t done a one to one comparison– but I have shot both ways. I mean, the dome out is a bit more even and softer… but I still have been happy with the light out of the bd without it. 😀

      1. Right on. I certainly like the results. I’ll have to test those heads a bit more myself. The other day, we were using a D2 with the big indirect Elincrom octa and getting a pretty strong double shadow. I was hypothesizing that it wouldn’t exist if we were using a domed head as it would more evenly light all of the octa directly at the same time and create a bit more consistent light, whereas the flat glass was only lighting the center portion of the octa initially and then the rest of it was creating a bit of bounce fill but also a double shadow later. It seemed like it was acting more like two different modifiers than one big consistent one. At least that was my best guess—could be totally wrong. Perhaps it’s also more of a factor with modifiers lager than a beauty dish. Thanks for all the great work you do and share!

        1. What you hypothesized may be true. I haven’t seen the problem in umbrellas or softboxes– but have seen double shadows with zoom reflectors. Thanks so much and best of luck!

Leave a Reply

Your email address will not be published. Required fields are marked *