Hi, I’m Jane

I moved to Antalya for the light — that soft, golden Mediterranean glow that no filter quite recreates, the kind that turns an ordinary evening on the sand into something worth printing. It shows up twice most days: once in the hour after sunrise, when the beaches are close to empty and the sea sits pale and flat, and again in the hour before sunset, when everything turns amber and every shadow grows long and soft. Overcast days help more than people expect, too — the cloud cover acts like a giant diffuser, softening harsh shadows on faces without losing the warmth in the sky above. I plan almost every session around one of these windows rather than around convenience, because a photo taken at midday under a hard Mediterranean sun looks like a different city entirely, and rarely a flattering one.

Most people who book a session say some version of the same thing beforehand: they don’t know how to stand in front of a camera, and they’re worried the photos will look forced. That’s completely normal, and it isn’t something you need to sort out before we meet — sorting it out is my job, during the shoot itself. I never ask anyone to hold a smile or search for a "good side." Instead I give you something to actually do — walk this way, look at each other, tell me about the thing you were just laughing about — so your face is doing something real instead of posing for a camera. The awkward stretch usually lasts about five minutes, right up until you stop noticing I’m there. By the second location, most people have stopped asking whether a shot looked good and started just enjoying the evening.

A session runs more like a rhythm than a fixed schedule. The first few minutes at any location are always slower, giving everyone a moment to settle in and get used to being photographed, and the pace only picks up once you’ve relaxed into it. Mini sessions stay at a single spot, so that arc happens once and stays short. Classic and Premium bookings move between two or three locations, and each change of scenery works almost like a reset — a fresh burst of energy just as the first spot starts to feel familiar. I never rush the opening minutes, because that’s when you’re still deciding whether to trust the process, and I never rush the closing ones either, since the loosest, most natural frames of the whole shoot tend to turn up right at the end, once nobody is thinking about the camera any more.

Choosing a location depends entirely on who’s in front of the camera, not on a fixed list of favourite spots. A couple wanting something quiet and a little dramatic usually ends up on a Konyaaltı sunset or a rooftop over the old harbour; a family with young children does better somewhere with shade, soft sand and no traffic to manage, which is why Lara and the calmer stretches near Düden come up so often for that group. Kaleiçi’s lanes suit people who want texture and history behind them rather than open sky and sea. Groups staying outside the city — in Kemer, Belek or Side — get the same thinking applied locally, built around whichever nearby beach, headland or old quarter matches the mood they’re after. I ask about your group and your dates before suggesting anywhere, because the right location for six people is rarely the right one for two.

My sessions are unposed and easy — a deliberate style choice, not a lack of direction. We walk, we chat, you laugh at my terrible jokes, and I shoot continuously through all of it rather than stopping every few seconds to arrange a pose — because the photos come out looking like the best evening of your holiday, and that’s usually exactly what it is. The direction I give is mostly about where to look and what to do, never how to hold your face: walk towards me, turn to each other, chase your kid down the sand. Actual posing — the stiff, chin-down, shoulders-back kind — barely comes up, maybe for one or two portrait frames near the end of a session, and even those are quick. Everything else is just you, doing something, while I stay close enough to catch it.

Once the session ends, every photo goes through the same process before it reaches you. I go through the full set first and pick the strongest frames rather than handing over everything straight off the memory card, then edit each one individually for colour, light and skin tone so the gallery feels consistent from the first image to the last. That editing pass is the main reason delivery takes a week rather than a day — it’s hand work, not a filter applied to the whole batch at once. You get a private online gallery once it’s ready, with the full-resolution files included and nothing held back for a later upsell. If a shot needs a slightly different crop for Instagram versus printing, that’s easy to sort out afterwards — just say so when the gallery arrives.

Everything about booking runs through WhatsApp, in English, Russian or Turkish, because it’s the one channel that works the same way whether you’re messaging from a hotel room, an airport lounge or the beach an hour before we meet. There’s no form to fill in and no account to create — you send your dates, I confirm a time and location, and we go from there. Replies come within the hour, which matters most in the last day or two before a shoot, when plans shift because of weather or a delayed flight. Switching languages mid-conversation is completely normal too — plenty of couples message partly in English and partly in Russian or Turkish depending on who’s typing, and it’s never once caused a problem. No deposit is asked for until the slot itself is actually confirmed.