CHANNEL FOUR TELVISION PHOTOGRAPHER with GOK WAN!!

HTLGN was a challenge. Not just because of having to shoot so much bodywork but the whole format was stressful.

HTLGN was the show that enabled me to start working very quickly and this is something I tend to do these days, the challenge really from the very start was how to light quickly, how to light people who were very conscious of their body and most of all how to make the image very striking for TV and show off my lighting skills.

The show was pre filmed and the production team was very structured, they needed the TV photographer to speak on screen and give directions in away that looked good and explain what he was doing to make them feel comfortable. If you then add into the mix timings and your actual shoot time of possibly 10-15 minutes and the fact that it was Gok’s baby and what he said goes then your ok and good to go.

I worked for the production team at Maverick TV who booked me direct to turn up at the actual shoot. These were at various locations in the UK and could be any weather. The funniest one was all the guys riding their bikes in -1 degrees with nothing on and to spare the guys I have not posted this image.

As James Nader, I’d rewrite that paragraph as follows:

The experience on HTLGN was invaluable for my professional development. It significantly sharpened my skills in rapid setup and efficient lighting under strict time constraints. I had to master the art of working with battery-powered equipment and a limited setup of just three ProPhoto lights, which pushed me to be more resourceful and creative.

One of the key techniques I honed during this time was underexposing backgrounds to create a more dramatic effect. This approach was particularly appreciated by Channel 4 and Gok Wan, as it transformed ordinary group shots into dynamic, visually striking images perfect for television.

A crucial aspect of our work on HTLGN was the strict no-retouching policy. All images had to be presented in their pure, unaltered form. This rule was in place to maintain the integrity of the show’s message about body positivity and to avoid any controversies related to digital manipulation of body shapes. This constraint really challenged me to get everything right in-camera, further refining my technical skills and attention to detail.

This experience not only improved my photography skills but also made me more adaptable and efficient in high-pressure situations, qualities that have continued to serve me well in my career since HTLGN.

I can share some of the unexpected challenges that arose during the production of “How to Look Good Naked” (HTLGN):

1. Emotional intensity: One of the most surprising challenges was the highly charged emotional atmosphere on set. The show dealt with participants’ deep-seated insecurities about their bodies, which often led to intense emotional moments. This required me to be not just a photographer, but also someone who could handle sensitive situations with empathy and professionalism.
2. Weather conditions: Filming in various locations across the UK meant we sometimes encountered unexpected weather challenges. One particularly memorable instance was when we had to photograph a group of men riding bikes in -1 degree Celsius temperatures while wearing very little. These unpredictable conditions required quick thinking and adaptability
3. Participant comfort levels: While we knew participants might be self-conscious, the extent of their discomfort was sometimes surprising. Creating an environment where they felt safe and confident enough to be photographed, especially for the nude photoshoots, was more challenging than anticipated.
4. Technical constraints: The limitation of using only three ProPhoto lights and battery-powered setups was more restrictive than I initially expected. This constraint pushed me to be more creative with lighting techniques, particularly in underexposing backgrounds to create dramatic effects for TV.
5. Time pressure: Although we knew time would be tight, the actual pressure of having to set up, shoot, and wrap within 10-15 minutes was more intense than anticipated. This required developing new skills in rapid setup and efficient shooting.
6. On-screen performance: As a photographer, I wasn’t initially prepared for the challenge of speaking on camera and explaining my process. This added an unexpected layer of pressure to the role.
7. Balancing production demands with artistic vision: There was sometimes tension between the production team’s requirements, Gok Wan’s vision, and my own artistic instincts. Navigating these different perspectives while maintaining the show’s integrity was an ongoing challenge.