March 30, 2026 • 34 mins
In this episode of Through the Creative Door, Alexis chats with Andrew Felix, a photographer, videographer, creative consultant, and fellow podcast host.
From starting in photography in both portrait and fashion to now expanding into drone work, Andrew shares how his creative path has evolved over time. He also talks about his passion for storytelling, both through his visual work and his own podcast featuring artists and creatives.
If you’d like to see more, you can follow on instagram;
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@ unbuttonedpodcast
This episode was recorded on 21st March 2026 on the lands of theWoiworung Peoples. We hope that this episode inspires you as a creative person and as a human being.
Thanks for listening, catch you on the next episode.
Psst! We are always on the lookout for creative people to share their story and inspire others. Have you got someone in mind who would love to have a chat? Get in contact with us via Instagram @throughthecreativedoor
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Created and Hosted by Alexis Naylor
Music by Alexis Naylor & Ruby Miguel
Edited and Produced by Ruby Miguel
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:09):
Hello, my name is Alexis Nailer, and I am your host here at Through The Creative Door.
On behalf of myself and my guests, I would like to acknowledge the traditional owners and custodians on which this podcast is recorded and produced.
May we pay our respects to all First Nations people and acknowledge elders past and present On this podcast, I'll be chatting to an array of creative guests, getting a glimpse into their worlds and having some honest and inspiring conversations along the way.
(00:41):
I'm delighted to welcome you to Through The Creative Door.
Oh my goodness, Andrew Alexis.
Thank you so much for coming through the creative door.
That's okay.
We're actually in your space.
We are one of your many spaces.
Yeah.
(01:02):
As we walked through to this space, you've got your beautiful desk set up, which is where you edit everything.
Yeah.
For those listening, you are such a talented bear.
Thank you.
Such a talented bear.
You're amazing photographer.
You do a lot of videography.
You, you start to dive into drone.
(01:23):
Work as well, which is amazing.
I am and fellow podcaster.
Yes.
I love this.
I love this.
But without further ado, I'm gonna get into my first question.
Yes.
Get in there.
Yes.
What does a creative space mean to you, Andrew?
(01:44):
Oh, look, I think over the years it's changed.
From, I guess being able to create a space that is conducive to whatever I'm trying to achieve, you know, from a photography point of view or from a videography point of view, with saying that it's about trying to create a space to allow for.
(02:17):
The subject, whatever that subject is, to feel comfortable.
And if it started off as that, it's kind of morphed into me being comfortable knowing that the space that I create, like I too am comfortable in that space as well.
(02:39):
And it's important to acknowledge that there's two parts to it, right?
So initially what I said was.
Understanding the space for the other individual, and now it's more about having the space that I know that I'm comfortable in because then that other individual will be comfortable as well.
(03:01):
Do you think that that 'cause for quite a lot of your work, you're in that sort of boudoir space, is that something that you have to be so much more mindful depending on what the lens of what.
The client is wanting to achieve?
Oh yeah.
Yeah, a hundred percent.
A hundred percent.
(03:21):
Like everything from
your slight little reactions to either conversation topics, the language that you use, the demeanor that you have, like absolutely everything.
And I've done it that many times that I fully understand like every, that's involved in being able to create the right space to To create the output that you are trying to striving for.
(04:00):
Yeah.
The variable in all of that is the individual, and so when you become a master of.
Your craft.
There's always gonna be that element of variability in that you need to know that you don't know everything.
(04:24):
Being a master of something doesn't mean knowing everything.
Being a master of something knows being a master limitations of something.
Yeah.
Knows that you know your limitation and there's always gonna be a limitation.
'cause the minute you think you know everything, you don't know anything.
So having a creative space that is conducive to all of that means that you can then activate your muscle memory for any situation or any individual, you know, like I do.
(04:57):
I do shoots here.
I do shoots on location and I do shoots.
On locations that I have never been to before, but I'm comfortable with doing that.
Yeah.
Surely there is an element of, you were saying about how there's certain language and, and things that you need to use around clients or around each project.
(05:25):
Mm. I would assume that there would be
quite a lot of pre-conversation.
In a particular way to get into that comfortable space with a client before you are even in that creative space.
Yeah.
If you get what I mean.
Yeah.
There's a, there's as much conversation as possible beforehand, but then, you know, like, uh, like I know that the world is a lot grayer than we think it is.
(05:59):
How so?
Like people will say that they want to do things.
Well, they say what they want to achieve particular things, and then on the day shit happens, plans change.
Your mood changes, that's okay, let's move on and try to create something else.
Sure, yeah.
Yeah.
(06:20):
And is that, how do you mitigate that?
Is there certain conversations that you have prior so that hopefully on shoot day, like.
Everyone, or do you, does it just depend, like there are just times where it doesn't matter how much conversation and, and making sure that someone feels comfortable and they know what, like the reality of what they're asking for in these boudoir photos.
(06:45):
I'm very good at working out and recognizing patterns and so, so pattern recognition is key to then be able to execute the right type of approach or the right type of strategy.
And all this.
It's all psychology.
Yeah, it's all psychology.
A hundred percent.
It's human behavior.
(07:06):
Mm. That's what we're doing.
Everything comes back to human behavior, and if you are not actively observing how your actions are creating a particular reaction, then you are not like mastering what you're actually doing.
(07:27):
I'll give you an example.
Okay.
Love examples.
Okay, so.
In a case where someone agrees that they want to do nude photography, so have a nude photo shoot.
Mm-hmm.
I know within two minutes of them being here if that's gonna happen.
Okay.
(07:47):
Even though they've signed a contract.
So I do everything professionally possible to set things up and do things the right way.
But then come shoot day, I know through pattern recognition and through behavior, body language, behavior, observation.
(08:11):
Mm-hmm.
Whether or not that's actually gonna happen because of the, I guess the scenario of whether or not they ask where the bathroom is or where to get changed.
Mm. Right.
Interesting.
So if someone says to me after I've shown them around and they've met the cats and they're all comfortable with that, and if they say, where's the bathroom again to go get changed, I know that potentially it's probably not gonna happen because there's a, there's a
(08:49):
potential privacy barrier or comfort level that is.
Present at that moment.
Mm. If they say, do you mind if I just get changed here?
I say to them, well, I've seen it all before.
Mm. Go right ahead and I just go off and do something else.
Mm-hmm.
Right.
So, yeah.
(09:10):
Okay.
Interesting.
It's about kind of really understanding the space and understanding the like conversation and interaction that you have and the energy that's present to then be able to go, you know what?
Something's not right or, 'cause I think some people will get excited about doing certain things prior to meeting me, and then when they meet, something happens.
(09:37):
Or like maybe they've not had a great morning or great day or whatever, or, and I don't push it.
You know, like, that's cool.
Like we can still make creative art without going to a nudity level.
Yeah.
You know?
Yeah.
Yeah.
Fascinating.
Mm-hmm.
It's, it's so nuanced.
(10:01):
Yeah.
Now you've done a lot of projects, so I'm very interested to know which one you're gonna go down, but is a body of work or something that you are most proud of creating?
I mean, obviously I focused a lot on the boudoir space for like the last 13 years.
(10:22):
But I've done like nightclub shoots, I've done like car shoots, I've done, you know, particular events and all this type of stuff.
I've done the party.
Yeah, done the podcast.
Other than like being published in magazines internationally, you know, like that's great.
(10:43):
It's like, and look, that's a great achievement, but I kind of also feel like.
Uh, it's kind of like a So what?
Yeah.
Do you think that perhaps you haven't created the thing yet that you're most proud of?
No, 'cause I'm proud of all of it.
(11:05):
I'm proud of all of it, actually.
Okay.
Hang on a minute.
Hang on a minute.
So it's, it's a, it is an interesting aspect to it, but, uh.
I don't necessarily know if I'm proud of it.
It's just, again, it's just like an observation.
Love this.
But like I do all this work
(11:25):
and sometimes I get recognized publicly and people come up to me and they're like, starstruck, and I'm like, I'm just a normal guy taking photos.
I'm just really good at it and I still don't know what I'm doing.
But you know, whatever.
(11:46):
And yeah, like I'm just a normal person.
Anybody can come up to me and start talking to me.
Like if you want to take a selfie when we're at a shopping center, which has happened a couple of times because they're just in awe of my work and how I coordinate myself.
Mm-hmm.
(12:06):
Like, yeah.
So that's kind of, I guess, proud that you've been able to curate.
Yeah.
This brand and this, yeah.
Yeah.
Product and like people look up to me.
Yeah, yeah.
Like as a, that's a great thing to be proud of as a leader in the industry, particularly in Australia.
Yeah.
You know, so, yeah.
Is there quite a large sort of boudoir photography scene in Australia?
(12:30):
There is, yeah.
Okay.
Yeah, and it's interesting how so.
Do you know, I guess we were talking earlier about how the off Mike, we live on an island.
Yes.
Australia.
And, uh, we have limited resources here being limited people.
Mm-hmm.
(12:51):
Even though more people keep coming here, but as, yeah, like, as people get better in their photography, you have to really push yourself to do something like outta the ordinary.
Yeah, but there's a hell of a lot of photographers, and the reason I got into boudoir was because I found fashion and fitness to be really super competitive, and I wanted to see whether or not I could do a genre that not very many people at the time were doing.
(13:30):
And over the last 13 years, you've seen it grow.
Yeah.
Yeah.
Which is great.
Yeah.
Yeah.
Good, nice and healthy competition.
No, in a good way.
In a good way.
That's exactly what I tell people.
I'm like, I will give you all of my tools and all of my tricks, and I'll teach you everything because I want to see you do better than me.
(13:56):
And then I'll be like, oh my God, how did you do that, Alexis?
You know, like, what's the technique, you know?
So you heard it first here guys.
If anyone needs some tips or be mentored.
Yeah.
In this space, Andrew's your guy.
A hundred percent.
A hundred percent.
I know.
I know that a few photographers are like, oh, that they will keep to themselves.
(14:18):
'cause they don't want to share how they do particular things, but, which is fine.
Like everybody's different.
But I'm one to share.
How I do things is I wanna, I wanna see if you can do it better, right?
If you want to know a location as to where I've done something, I'll tell you because I wanna see if you can do it better than me.
(14:43):
Right?
Like, go don't gate, keep.
Yeah.
And I think there, there's, I, there are particular people at Gate Keep because they wanna protect their brand or whatever, but at the end of the day, like.
Collaboration and community is about sharing how you do particular things.
(15:03):
Chances are nine, nine outta 10 people aren't gonna do it because they're lazy anyway.
But you want that one person to go out there and try to do it absolutely better.
And then you'd be like, then you, then I would be like, in awe of their work.
I'd be like, oh my God.
Like that's amazing.
How did you do that?
(15:24):
Um, it's also.
A privilege to be able to give back into community as well.
Yeah, exactly.
Exactly.
You know, I think, I think as humans, we ultimately want to be part of a community, to be a part of a group of individuals that will support and push each other to do even greater things.
(15:48):
Otherwise, the benchmark stays at the one in the one place.
And like, who wants to do that?
That, how fun is that?
Not fun.
We all need someone to chase.
Yeah.
And we always need someone to be on our heels.
Yeah.
To push us.
Yeah, yeah, yeah.
Uh, which is also why I look internationally for inspiration, like the guys that are doing stuff in Europe.
(16:10):
And then I'll look at a photo and I'll try to analyze, okay, well how many lights did they use there?
Or like, what's the editing technique?
But like.
Over 13 years, I've looked at that many photos.
I can work out that stuff.
Yeah, but you only get good at doing that unless you put the work in hours, baby.
(16:30):
Love that.
I'm interest.
Have you ever found that there's been something that's challenged being able to create in these spaces?
Have you ever had trouble trying to navigate this?
Not anything to do with the creative part of things.
(16:52):
It's more external relationships or like partners not wanting for you to have this as your creative venture.
Oh, yeah.
And, and in that, and not just me personally, but like the, the clients or the models, partners as well.
(17:14):
I've had, I've had shoots organized and then last minute they've had to cancel and they've opened up and were transparent and honest with me about the fact that their partner didn't want them to come and do the shoot.
Mm. So I've gone, okay, all good.
No worries.
You know what, at the end of the day, you've just freed up my time to do other things.
(17:36):
And then six months later that individual's come back to me, said, we can do a shoot now.
'cause I'm not with that.
Partner.
Mm. So I get it.
I totally get it.
But at the same time, kind of a little bit like, uh, this insecurities of other individuals just need to be managed appropriately.
(18:06):
Well, that is a challenge in your line of work that Yeah.
If you were doing any other line of photography, that's not really gonna be something that you'd have to.
Like maybe if you're doing babies, if a baby's sick or something like that.
There's that kind of, yeah, not this kind of, yeah.
Scenario, but I always come back to the, I guess analogy of if you were getting paid a million dollars, would it be an issue?
(18:33):
What to do a boudoir shoot to do the thing that you wanted to do?
No.
No, wouldn't be an issue.
An issue.
No.
So therefore, why is money the deciding factor here?
Oh, you're talking about me.
So money wouldn't be a deciding factor.
I'd do it anyway, but, but I get what you're saying.
Yes.
Yeah, yeah.
So like if, if your partner was saying, oh, I don't want you to do a boudoir shoot, and you said to them, well, I'm getting paid a million dollars.
(19:02):
And they'd go, shit, you can go do it then.
See someone getting permission to do it from someone that just wouldn't be in my, yeah.
Anyway, but yes.
Yeah.
Yeah.
So, you know, you're allowing me to do it.
I'm sorry, what was that?
Yeah, yeah, yeah, yeah, yeah.
I wasn't asking, I was telling, yeah.
There's some relationship dynamics that need to be like set up properly, right?
(19:26):
Yes.
But, um.
Yeah.
And then, yeah, so there's that.
There's that aspect.
And then I guess it's, I think as a creative, you have to open yourself up to trying to understand what type of creative you're trying to be.
And that journey in itself is a really hard one to, to work out.
(19:49):
Okay.
Yeah.
Is that something that you really struggled with?
Oh no, I didn't struggle with it.
I'm just saying like people would struggle with it.
Would struggle with it, yeah.
Yeah.
And do you think that the struggle is having maybe friends or family or partners that don't understand, like you were mentioning before about obviously on the client side that partners are not really aligning with the choices that your clients are sort of putting forward to do.
(20:18):
But also on the other side of perhaps maybe people in your life that don't really have an opinion about what you are doing.
Yeah, exactly.
You know, or they have an opinion and they don't agree.
Yeah.
Yeah.
And how, how, how do you mitigate that?
The people on your side?
You gotta take it with the grain of salt.
'cause obviously it depends, you know who the individual is.
(20:42):
Yeah.
I mean, look, I, I, I had more supporters of my work who are strangers, who I've never met.
And the people that I know who I know in person tell me that they support, but then they don't actively like do anything.
I had this conversation with someone just this week.
Yeah.
Truly.
(21:02):
Yeah.
People who don't even know you that will move heaven and earth to come to a gig.
Yeah.
Or support your stuff and people that are meant to love you or do love you.
Sorry, I shouldn't say meant to love.
You do love you, but like it's like, dude, just share the thing or like the thing like I'm not even asking you to spend any money and it's still like helpful.
(21:24):
Yeah, yeah, yeah.
It's so tough, isn't it?
Yeah.
One of the best bits of advice that someone gave me, because back years ago.
I felt very disheartened and yeah.
Disappointed that people that are meant to love you don't Yeah.
Pull through the way that you expect.
Yeah.
And yeah, someone said to me, it's not, it's your dream not theirs a hundred percent.
(21:48):
And they don't have a right and they shouldn't understand what your dream is.
'cause you are the one that dreamt it, which is fine.
Like, I get it, I get it.
But at the same time, it's kind of a little bit.
It is a bit disheartening 'cause you're kinda like, oh, I'm pushing shit uphill.
(22:09):
For what?
For absolutely what?
You know, it is like, ah, I, yeah, I've got this dream, I've had this dream and I've been talking about it for five years and like, oh, I hear you.
I hear you.
Yeah.
Everyone likes to be on the sidelines going, that's awesome.
And you're like, cool, but also help a sister out.
(22:30):
Yeah.
Yeah.
And then look there, there's also the, there's also the analogy of like, um, as you move through time and space being life,
you are moving like a rocket ship,
okay?
(22:51):
Propelling yourself through the atmosphere into space.
And what happens is.
In that analogy, you have boosters and those boosters will fall off to return back to earth
and that rocket ship still goes.
Mm-hmm.
(23:11):
So at the end of the day, the people who are around you from day one may not very well be there at day 300.
Well, I love this analogy because they're the original boosters that will depart and see you later.
Oh, I love this.
(23:32):
Yeah, so the people that you have from day one might not necessarily be there at Day 300, and that's okay because you may find other people on the International Space Station that are your people, but just keep to your North Star.
Yeah.
(23:53):
Yep.
I love it.
Now I'm very curious, do you have an object or a thing that you can't live without when you're creating
laughter?
Interesting.
Just having a laugh and creating that space where people can drop their guard and just have fun with what we're doing.
(24:18):
Yeah, like I can't, I can't create if I'm not doing that.
Yeah.
Yeah.
I love that laughter is so much a part of what you do.
Yeah.
Yeah.
I don't think I've ever been in your presence where I haven't heard you laugh.
Did you?
That's 'cause either I'm either laughing at something or I'm just laughing at myself.
(24:42):
And that's the whole humility of it all because like, oh, I will.
I will show people how to pose because I know it's awkward because I went and did a boudoir shoot myself, which is actually called the dude wire shoot.
Is it really?
Yeah, and it's an And it's an actual thing in the us.
(25:04):
Oh, right.
Not so much here.
No, not so much here.
But I did that because I wanted to know what it felt like, feels like.
And so I will show people how to pose because I'm not afraid to.
One, make myself look like an idiot because I'm six foot two and built the way that I'm built.
(25:25):
Mm-hmm.
And like people will look at that and be like, oh my God.
Like if he can do that and still have a laugh about himself, then I can do it too.
I can do it too.
And I want to see what photos he's gonna take as a result of doing that.
And then, and then when I show them, they're like, oh my God.
(25:48):
Yeah.
And even, even before I show them, I'll be like, I know that.
I'll say to them, I know that felt really awkward, but have a look at this.
Mm. Which then makes it all all worthwhile.
Yeah.
It's so true.
And I do think that a lot can be said for putting ourselves in a position where we know what you are asking of somebody.
(26:12):
Yeah.
Hugely.
Yeah.
Like even from an example of hosting and chatting to people like, you know what it's like to be interviewed.
Mm-hmm.
You also know how to make people comfortable, whether that be in a shooting space or interview space.
Mm-hmm.
Because people are never gonna relax into.
(26:33):
Chatting or using their body.
Mm. If they don't feel comfortable mm-hmm.
And connected to who mm-hmm.
It is that they're chatting to and being in that space with, do you want to know what my number one principle is?
Ooh, yes.
People will always remember you based on the way that you've made them feel.
Yep.
(26:53):
So that's the North Star
If you do things.
Do things deliberately so that it produces a memory and a positive memory.
'cause if you do something and it creates a negative memory, guess what?
(27:16):
That's what they're gonna talk about.
They're gonna talk about that negative experience.
Mm. So, yeah, very true.
Very true.
That's almost nearly your piece of wisdom.
Mm. But I'm not going to say that there is.
(27:40):
But if you could give one piece of advice or nugget of gold Mm. To another creative, what would it be?
Be open to.
All of the wonderful possibilities that this journey can present itself to you because we're all stuck on this rock
(28:08):
and none of us are getting out of this alive.
So you might as well try to enjoy the things that you're doing and enjoy learning about how to make an impact on other people's lives.
Because the minute you close yourself off is the minute you kind of maybe have like lost the purpose of what you're trying to do.
(28:36):
Sparkle.
Yeah.
And you know, like I think, I think at the end of the day, art's the only thing that'll actually save us.
Now, if that's not a quote, I don't know what is.
Yes, because it expands your mind mm-hmm.
To all the possibilities of the wonderful things that you know, this life can give you.
(29:03):
Yeah.
Well said.
There's actually quite a few nuggets in that little bit that you just said.
Uhhuh
now.
If anyone wanted to develop their creative process and do what you do in this photography, drone photography space, Hmm.
Even podcast space, have you got any resources that you would recommend?
(29:31):
There's so many resources out there to do absolutely anything like it's use chat.
GBT.
Ask it, where are the resources for X, Y, Z?
Then go do it.
Yeah.
I think in today's day and age, the challenge that we have is that there's too many resources and which is why sometimes it's interesting when you're speaking to someone to then have them go, oh, actually, yeah, sure you can.
(29:59):
There's world, your oyster and what you can do.
Yeah.
I personally have done this short course, or I referenced this, or, yeah.
You know, it's interesting to find out whether there's particular.
Things that people reference in their own body of work.
Look, if you are starting out, the number one thing that I would say is do the thing that you're trying to learn every single day, regardless of if it's five minutes or if it's one hour, or if it's three hours, do it every single day.
(30:30):
'cause that's how you're gonna get better at it.
If you know your learning style is reading something or then search something up and read about it.
If your learning style is watching something, go on YouTube and watch something.
If your learning style is going to a class, then go to a class.
If your learning style is actually doing the thing, well then do the thing.
(30:54):
Find the time to do the thing, get a mentor.
Bloody go and tell them, Hey, I could give you my body and my skill.
Can I learn from you?
Let's get on a shoot together, or like, do what I did and just throw yourself into it and organize.
Five shoots in one day and be absolutely tired by the end of it and be like, why did I do that?
(31:16):
Oh, I did it because people were available and I needed to learn.
Yeah.
Well said.
If you could have anyone come on this podcast to answer these questions, who would it be and why?
(31:38):
Peter Colson.
Peter Colson.
Yeah.
Why?
Because he is phenomenal.
He's a Melbourne based international photographer, and I went to one of his courses, one of his workshops, probably about eight years ago now, and that transformed my whole approach.
(32:03):
Yeah.
Interesting.
Did you know of him before you went and did his workshop?
I did.
Yeah.
Yeah.
I, uh, I'd been following him for a while and then saved up some money to go do his workshop and did his workshop, and I was like, shit, I damn.
(32:24):
Yeah.
I literally know nothing and I had no idea that's what I needed to be doing.
Yeah.
Brilliant.
The number one.
Thing I think that I learned the most about his particular style or like attending that workshop was talk to the person that you're taking from those where just talk to them.
(32:50):
Mm. Tell them you know what you want them to do, which is why I do what I do.
And how I've been great at doing it.
Yeah.
Yeah.
Well, I, in a interesting way, it's like, you know how you hear those sayings about whenever you come across people, you wanna leave them in a better state than how you found them.
(33:18):
Yeah.
I guess that's in your line of work, allowing them to have this beautiful experience that Yeah, they're uplifted Exactly from that.
Yeah.
Yeah.
You've left them a little more sparker than you found them.
Yeah.
And so they should.
Yeah.
Yeah.
I love it.
Oh my goodness, Andrew, what a lovely chat this has been.
(33:40):
I feel like we could just chat forever, but thank you so much for coming through the creative door.
You're welcome.
It has been such a vibe.
Thanks for tuning in for another episode of Through The Creative Door.
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(34:04):
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(34:31):
Thanks so much for being part of our community.
We'll catch you on the next episode.
Bye bye.
Hello, my name is Alexis Nailer, and I am your host here at Through The Creative Door.
On behalf of myself and my guests, I would like to acknowledge the traditional owners and custodians on which this podcast is recorded and produced.
May we pay our respects to all First Nations people and acknowledge elders past and present On this podcast, I'll be chatting to an array of creative guests, getting a glimpse into their worlds and having some honest and inspiring conversations along the way.
(00:41):
I'm delighted to welcome you to Through The Creative Door.
Oh my goodness, Andrew Alexis.
Thank you so much for coming through the creative door.
That's okay.
We're actually in your space.
We are one of your many spaces.
Yeah.
(01:02):
As we walked through to this space, you've got your beautiful desk set up, which is where you edit everything.
Yeah.
For those listening, you are such a talented bear.
Thank you.
Such a talented bear.
You're amazing photographer.
You do a lot of videography.
You, you start to dive into drone.
(01:23):
Work as well, which is amazing.
I am and fellow podcaster.
Yes.
I love this.
I love this.
But without further ado, I'm gonna get into my first question.
Yes.
Get in there.
Yes.
What does a creative space mean to you, Andrew?
(01:44):
Oh, look, I think over the years it's changed.
From, I guess being able to create a space that is conducive to whatever I'm trying to achieve, you know, from a photography point of view or from a videography point of view, with saying that it's about trying to create a space to allow for.
(02:17):
The subject, whatever that subject is, to feel comfortable.
And if it started off as that, it's kind of morphed into me being comfortable knowing that the space that I create, like I too am comfortable in that space as well.
(02:39):
And it's important to acknowledge that there's two parts to it, right?
So initially what I said was.
Understanding the space for the other individual, and now it's more about having the space that I know that I'm comfortable in because then that other individual will be comfortable as well.
(03:01):
Do you think that that 'cause for quite a lot of your work, you're in that sort of boudoir space, is that something that you have to be so much more mindful depending on what the lens of what.
The client is wanting to achieve?
Oh yeah.
Yeah, a hundred percent.
A hundred percent.
(03:21):
Like everything from
your slight little reactions to either conversation topics, the language that you use, the demeanor that you have, like absolutely everything.
And I've done it that many times that I fully understand like every, that's involved in being able to create the right space to To create the output that you are trying to striving for.
(04:00):
Yeah.
The variable in all of that is the individual, and so when you become a master of.
Your craft.
There's always gonna be that element of variability in that you need to know that you don't know everything.
(04:24):
Being a master of something doesn't mean knowing everything.
Being a master of something knows being a master limitations of something.
Yeah.
Knows that you know your limitation and there's always gonna be a limitation.
'cause the minute you think you know everything, you don't know anything.
So having a creative space that is conducive to all of that means that you can then activate your muscle memory for any situation or any individual, you know, like I do.
(04:57):
I do shoots here.
I do shoots on location and I do shoots.
On locations that I have never been to before, but I'm comfortable with doing that.
Yeah.
Surely there is an element of, you were saying about how there's certain language and, and things that you need to use around clients or around each project.
(05:25):
Mm. I would assume that there would be
quite a lot of pre-conversation.
In a particular way to get into that comfortable space with a client before you are even in that creative space.
Yeah.
If you get what I mean.
Yeah.
There's a, there's as much conversation as possible beforehand, but then, you know, like, uh, like I know that the world is a lot grayer than we think it is.
(05:59):
How so?
Like people will say that they want to do things.
Well, they say what they want to achieve particular things, and then on the day shit happens, plans change.
Your mood changes, that's okay, let's move on and try to create something else.
Sure, yeah.
Yeah.
(06:20):
And is that, how do you mitigate that?
Is there certain conversations that you have prior so that hopefully on shoot day, like.
Everyone, or do you, does it just depend, like there are just times where it doesn't matter how much conversation and, and making sure that someone feels comfortable and they know what, like the reality of what they're asking for in these boudoir photos.
(06:45):
I'm very good at working out and recognizing patterns and so, so pattern recognition is key to then be able to execute the right type of approach or the right type of strategy.
And all this.
It's all psychology.
Yeah, it's all psychology.
A hundred percent.
It's human behavior.
(07:06):
Mm. That's what we're doing.
Everything comes back to human behavior, and if you are not actively observing how your actions are creating a particular reaction, then you are not like mastering what you're actually doing.
(07:27):
I'll give you an example.
Okay.
Love examples.
Okay, so.
In a case where someone agrees that they want to do nude photography, so have a nude photo shoot.
Mm-hmm.
I know within two minutes of them being here if that's gonna happen.
Okay.
(07:47):
Even though they've signed a contract.
So I do everything professionally possible to set things up and do things the right way.
But then come shoot day, I know through pattern recognition and through behavior, body language, behavior, observation.
(08:11):
Mm-hmm.
Whether or not that's actually gonna happen because of the, I guess the scenario of whether or not they ask where the bathroom is or where to get changed.
Mm. Right.
Interesting.
So if someone says to me after I've shown them around and they've met the cats and they're all comfortable with that, and if they say, where's the bathroom again to go get changed, I know that potentially it's probably not gonna happen because there's a, there's a
(08:49):
potential privacy barrier or comfort level that is.
Present at that moment.
Mm. If they say, do you mind if I just get changed here?
I say to them, well, I've seen it all before.
Mm. Go right ahead and I just go off and do something else.
Mm-hmm.
Right.
So, yeah.
(09:10):
Okay.
Interesting.
It's about kind of really understanding the space and understanding the like conversation and interaction that you have and the energy that's present to then be able to go, you know what?
Something's not right or, 'cause I think some people will get excited about doing certain things prior to meeting me, and then when they meet, something happens.
(09:37):
Or like maybe they've not had a great morning or great day or whatever, or, and I don't push it.
You know, like, that's cool.
Like we can still make creative art without going to a nudity level.
Yeah.
You know?
Yeah.
Yeah.
Fascinating.
Mm-hmm.
It's, it's so nuanced.
(10:01):
Yeah.
Now you've done a lot of projects, so I'm very interested to know which one you're gonna go down, but is a body of work or something that you are most proud of creating?
I mean, obviously I focused a lot on the boudoir space for like the last 13 years.
(10:22):
But I've done like nightclub shoots, I've done like car shoots, I've done, you know, particular events and all this type of stuff.
I've done the party.
Yeah, done the podcast.
Other than like being published in magazines internationally, you know, like that's great.
(10:43):
It's like, and look, that's a great achievement, but I kind of also feel like.
Uh, it's kind of like a So what?
Yeah.
Do you think that perhaps you haven't created the thing yet that you're most proud of?
No, 'cause I'm proud of all of it.
(11:05):
I'm proud of all of it, actually.
Okay.
Hang on a minute.
Hang on a minute.
So it's, it's a, it is an interesting aspect to it, but, uh.
I don't necessarily know if I'm proud of it.
It's just, again, it's just like an observation.
Love this.
But like I do all this work
(11:25):
and sometimes I get recognized publicly and people come up to me and they're like, starstruck, and I'm like, I'm just a normal guy taking photos.
I'm just really good at it and I still don't know what I'm doing.
But you know, whatever.
(11:46):
And yeah, like I'm just a normal person.
Anybody can come up to me and start talking to me.
Like if you want to take a selfie when we're at a shopping center, which has happened a couple of times because they're just in awe of my work and how I coordinate myself.
Mm-hmm.
(12:06):
Like, yeah.
So that's kind of, I guess, proud that you've been able to curate.
Yeah.
This brand and this, yeah.
Yeah.
Product and like people look up to me.
Yeah, yeah.
Like as a, that's a great thing to be proud of as a leader in the industry, particularly in Australia.
Yeah.
You know, so, yeah.
Is there quite a large sort of boudoir photography scene in Australia?
(12:30):
There is, yeah.
Okay.
Yeah, and it's interesting how so.
Do you know, I guess we were talking earlier about how the off Mike, we live on an island.
Yes.
Australia.
And, uh, we have limited resources here being limited people.
Mm-hmm.
(12:51):
Even though more people keep coming here, but as, yeah, like, as people get better in their photography, you have to really push yourself to do something like outta the ordinary.
Yeah, but there's a hell of a lot of photographers, and the reason I got into boudoir was because I found fashion and fitness to be really super competitive, and I wanted to see whether or not I could do a genre that not very many people at the time were doing.
(13:30):
And over the last 13 years, you've seen it grow.
Yeah.
Yeah.
Which is great.
Yeah.
Yeah.
Good, nice and healthy competition.
No, in a good way.
In a good way.
That's exactly what I tell people.
I'm like, I will give you all of my tools and all of my tricks, and I'll teach you everything because I want to see you do better than me.
(13:56):
And then I'll be like, oh my God, how did you do that, Alexis?
You know, like, what's the technique, you know?
So you heard it first here guys.
If anyone needs some tips or be mentored.
Yeah.
In this space, Andrew's your guy.
A hundred percent.
A hundred percent.
I know.
I know that a few photographers are like, oh, that they will keep to themselves.
(14:18):
'cause they don't want to share how they do particular things, but, which is fine.
Like everybody's different.
But I'm one to share.
How I do things is I wanna, I wanna see if you can do it better, right?
If you want to know a location as to where I've done something, I'll tell you because I wanna see if you can do it better than me.
(14:43):
Right?
Like, go don't gate, keep.
Yeah.
And I think there, there's, I, there are particular people at Gate Keep because they wanna protect their brand or whatever, but at the end of the day, like.
Collaboration and community is about sharing how you do particular things.
(15:03):
Chances are nine, nine outta 10 people aren't gonna do it because they're lazy anyway.
But you want that one person to go out there and try to do it absolutely better.
And then you'd be like, then you, then I would be like, in awe of their work.
I'd be like, oh my God.
Like that's amazing.
How did you do that?
(15:24):
Um, it's also.
A privilege to be able to give back into community as well.
Yeah, exactly.
Exactly.
You know, I think, I think as humans, we ultimately want to be part of a community, to be a part of a group of individuals that will support and push each other to do even greater things.
(15:48):
Otherwise, the benchmark stays at the one in the one place.
And like, who wants to do that?
That, how fun is that?
Not fun.
We all need someone to chase.
Yeah.
And we always need someone to be on our heels.
Yeah.
To push us.
Yeah, yeah, yeah.
Uh, which is also why I look internationally for inspiration, like the guys that are doing stuff in Europe.
(16:10):
And then I'll look at a photo and I'll try to analyze, okay, well how many lights did they use there?
Or like, what's the editing technique?
But like.
Over 13 years, I've looked at that many photos.
I can work out that stuff.
Yeah, but you only get good at doing that unless you put the work in hours, baby.
(16:30):
Love that.
I'm interest.
Have you ever found that there's been something that's challenged being able to create in these spaces?
Have you ever had trouble trying to navigate this?
Not anything to do with the creative part of things.
(16:52):
It's more external relationships or like partners not wanting for you to have this as your creative venture.
Oh, yeah.
And, and in that, and not just me personally, but like the, the clients or the models, partners as well.
(17:14):
I've had, I've had shoots organized and then last minute they've had to cancel and they've opened up and were transparent and honest with me about the fact that their partner didn't want them to come and do the shoot.
Mm. So I've gone, okay, all good.
No worries.
You know what, at the end of the day, you've just freed up my time to do other things.
(17:36):
And then six months later that individual's come back to me, said, we can do a shoot now.
'cause I'm not with that.
Partner.
Mm. So I get it.
I totally get it.
But at the same time, kind of a little bit like, uh, this insecurities of other individuals just need to be managed appropriately.
(18:06):
Well, that is a challenge in your line of work that Yeah.
If you were doing any other line of photography, that's not really gonna be something that you'd have to.
Like maybe if you're doing babies, if a baby's sick or something like that.
There's that kind of, yeah, not this kind of, yeah.
Scenario, but I always come back to the, I guess analogy of if you were getting paid a million dollars, would it be an issue?
(18:33):
What to do a boudoir shoot to do the thing that you wanted to do?
No.
No, wouldn't be an issue.
An issue.
No.
So therefore, why is money the deciding factor here?
Oh, you're talking about me.
So money wouldn't be a deciding factor.
I'd do it anyway, but, but I get what you're saying.
Yes.
Yeah, yeah.
So like if, if your partner was saying, oh, I don't want you to do a boudoir shoot, and you said to them, well, I'm getting paid a million dollars.
(19:02):
And they'd go, shit, you can go do it then.
See someone getting permission to do it from someone that just wouldn't be in my, yeah.
Anyway, but yes.
Yeah.
Yeah.
So, you know, you're allowing me to do it.
I'm sorry, what was that?
Yeah, yeah, yeah, yeah, yeah.
I wasn't asking, I was telling, yeah.
There's some relationship dynamics that need to be like set up properly, right?
(19:26):
Yes.
But, um.
Yeah.
And then, yeah, so there's that.
There's that aspect.
And then I guess it's, I think as a creative, you have to open yourself up to trying to understand what type of creative you're trying to be.
And that journey in itself is a really hard one to, to work out.
(19:49):
Okay.
Yeah.
Is that something that you really struggled with?
Oh no, I didn't struggle with it.
I'm just saying like people would struggle with it.
Would struggle with it, yeah.
Yeah.
And do you think that the struggle is having maybe friends or family or partners that don't understand, like you were mentioning before about obviously on the client side that partners are not really aligning with the choices that your clients are sort of putting forward to do.
(20:18):
But also on the other side of perhaps maybe people in your life that don't really have an opinion about what you are doing.
Yeah, exactly.
You know, or they have an opinion and they don't agree.
Yeah.
Yeah.
And how, how, how do you mitigate that?
The people on your side?
You gotta take it with the grain of salt.
'cause obviously it depends, you know who the individual is.
(20:42):
Yeah.
I mean, look, I, I, I had more supporters of my work who are strangers, who I've never met.
And the people that I know who I know in person tell me that they support, but then they don't actively like do anything.
I had this conversation with someone just this week.
Yeah.
Truly.
(21:02):
Yeah.
People who don't even know you that will move heaven and earth to come to a gig.
Yeah.
Or support your stuff and people that are meant to love you or do love you.
Sorry, I shouldn't say meant to love.
You do love you, but like it's like, dude, just share the thing or like the thing like I'm not even asking you to spend any money and it's still like helpful.
(21:24):
Yeah, yeah, yeah.
It's so tough, isn't it?
Yeah.
One of the best bits of advice that someone gave me, because back years ago.
I felt very disheartened and yeah.
Disappointed that people that are meant to love you don't Yeah.
Pull through the way that you expect.
Yeah.
And yeah, someone said to me, it's not, it's your dream not theirs a hundred percent.
(21:48):
And they don't have a right and they shouldn't understand what your dream is.
'cause you are the one that dreamt it, which is fine.
Like, I get it, I get it.
But at the same time, it's kind of a little bit.
It is a bit disheartening 'cause you're kinda like, oh, I'm pushing shit uphill.
(22:09):
For what?
For absolutely what?
You know, it is like, ah, I, yeah, I've got this dream, I've had this dream and I've been talking about it for five years and like, oh, I hear you.
I hear you.
Yeah.
Everyone likes to be on the sidelines going, that's awesome.
And you're like, cool, but also help a sister out.
(22:30):
Yeah.
Yeah.
And then look there, there's also the, there's also the analogy of like, um, as you move through time and space being life,
you are moving like a rocket ship,
okay?
(22:51):
Propelling yourself through the atmosphere into space.
And what happens is.
In that analogy, you have boosters and those boosters will fall off to return back to earth
and that rocket ship still goes.
Mm-hmm.
(23:11):
So at the end of the day, the people who are around you from day one may not very well be there at day 300.
Well, I love this analogy because they're the original boosters that will depart and see you later.
Oh, I love this.
(23:32):
Yeah, so the people that you have from day one might not necessarily be there at Day 300, and that's okay because you may find other people on the International Space Station that are your people, but just keep to your North Star.
Yeah.
(23:53):
Yep.
I love it.
Now I'm very curious, do you have an object or a thing that you can't live without when you're creating
laughter?
Interesting.
Just having a laugh and creating that space where people can drop their guard and just have fun with what we're doing.
(24:18):
Yeah, like I can't, I can't create if I'm not doing that.
Yeah.
Yeah.
I love that laughter is so much a part of what you do.
Yeah.
Yeah.
I don't think I've ever been in your presence where I haven't heard you laugh.
Did you?
That's 'cause either I'm either laughing at something or I'm just laughing at myself.
(24:42):
And that's the whole humility of it all because like, oh, I will.
I will show people how to pose because I know it's awkward because I went and did a boudoir shoot myself, which is actually called the dude wire shoot.
Is it really?
Yeah, and it's an And it's an actual thing in the us.
(25:04):
Oh, right.
Not so much here.
No, not so much here.
But I did that because I wanted to know what it felt like, feels like.
And so I will show people how to pose because I'm not afraid to.
One, make myself look like an idiot because I'm six foot two and built the way that I'm built.
(25:25):
Mm-hmm.
And like people will look at that and be like, oh my God.
Like if he can do that and still have a laugh about himself, then I can do it too.
I can do it too.
And I want to see what photos he's gonna take as a result of doing that.
And then, and then when I show them, they're like, oh my God.
(25:48):
Yeah.
And even, even before I show them, I'll be like, I know that.
I'll say to them, I know that felt really awkward, but have a look at this.
Mm. Which then makes it all all worthwhile.
Yeah.
It's so true.
And I do think that a lot can be said for putting ourselves in a position where we know what you are asking of somebody.
(26:12):
Yeah.
Hugely.
Yeah.
Like even from an example of hosting and chatting to people like, you know what it's like to be interviewed.
Mm-hmm.
You also know how to make people comfortable, whether that be in a shooting space or interview space.
Mm-hmm.
Because people are never gonna relax into.
(26:33):
Chatting or using their body.
Mm. If they don't feel comfortable mm-hmm.
And connected to who mm-hmm.
It is that they're chatting to and being in that space with, do you want to know what my number one principle is?
Ooh, yes.
People will always remember you based on the way that you've made them feel.
Yep.
(26:53):
So that's the North Star
If you do things.
Do things deliberately so that it produces a memory and a positive memory.
'cause if you do something and it creates a negative memory, guess what?
(27:16):
That's what they're gonna talk about.
They're gonna talk about that negative experience.
Mm. So, yeah, very true.
Very true.
That's almost nearly your piece of wisdom.
Mm. But I'm not going to say that there is.
(27:40):
But if you could give one piece of advice or nugget of gold Mm. To another creative, what would it be?
Be open to.
All of the wonderful possibilities that this journey can present itself to you because we're all stuck on this rock
(28:08):
and none of us are getting out of this alive.
So you might as well try to enjoy the things that you're doing and enjoy learning about how to make an impact on other people's lives.
Because the minute you close yourself off is the minute you kind of maybe have like lost the purpose of what you're trying to do.
(28:36):
Sparkle.
Yeah.
And you know, like I think, I think at the end of the day, art's the only thing that'll actually save us.
Now, if that's not a quote, I don't know what is.
Yes, because it expands your mind mm-hmm.
To all the possibilities of the wonderful things that you know, this life can give you.
(29:03):
Yeah.
Well said.
There's actually quite a few nuggets in that little bit that you just said.
Uhhuh
now.
If anyone wanted to develop their creative process and do what you do in this photography, drone photography space, Hmm.
Even podcast space, have you got any resources that you would recommend?
(29:31):
There's so many resources out there to do absolutely anything like it's use chat.
GBT.
Ask it, where are the resources for X, Y, Z?
Then go do it.
Yeah.
I think in today's day and age, the challenge that we have is that there's too many resources and which is why sometimes it's interesting when you're speaking to someone to then have them go, oh, actually, yeah, sure you can.
(29:59):
There's world, your oyster and what you can do.
Yeah.
I personally have done this short course, or I referenced this, or, yeah.
You know, it's interesting to find out whether there's particular.
Things that people reference in their own body of work.
Look, if you are starting out, the number one thing that I would say is do the thing that you're trying to learn every single day, regardless of if it's five minutes or if it's one hour, or if it's three hours, do it every single day.
(30:30):
'cause that's how you're gonna get better at it.
If you know your learning style is reading something or then search something up and read about it.
If your learning style is watching something, go on YouTube and watch something.
If your learning style is going to a class, then go to a class.
If your learning style is actually doing the thing, well then do the thing.
(30:54):
Find the time to do the thing, get a mentor.
Bloody go and tell them, Hey, I could give you my body and my skill.
Can I learn from you?
Let's get on a shoot together, or like, do what I did and just throw yourself into it and organize.
Five shoots in one day and be absolutely tired by the end of it and be like, why did I do that?
(31:16):
Oh, I did it because people were available and I needed to learn.
Yeah.
Well said.
If you could have anyone come on this podcast to answer these questions, who would it be and why?
(31:38):
Peter Colson.
Peter Colson.
Yeah.
Why?
Because he is phenomenal.
He's a Melbourne based international photographer, and I went to one of his courses, one of his workshops, probably about eight years ago now, and that transformed my whole approach.
(32:03):
Yeah.
Interesting.
Did you know of him before you went and did his workshop?
I did.
Yeah.
Yeah.
I, uh, I'd been following him for a while and then saved up some money to go do his workshop and did his workshop, and I was like, shit, I damn.
(32:24):
Yeah.
I literally know nothing and I had no idea that's what I needed to be doing.
Yeah.
Brilliant.
The number one.
Thing I think that I learned the most about his particular style or like attending that workshop was talk to the person that you're taking from those where just talk to them.
(32:50):
Mm. Tell them you know what you want them to do, which is why I do what I do.
And how I've been great at doing it.
Yeah.
Yeah.
Well, I, in a interesting way, it's like, you know how you hear those sayings about whenever you come across people, you wanna leave them in a better state than how you found them.
(33:18):
Yeah.
I guess that's in your line of work, allowing them to have this beautiful experience that Yeah, they're uplifted Exactly from that.
Yeah.
Yeah.
You've left them a little more sparker than you found them.
Yeah.
And so they should.
Yeah.
Yeah.
I love it.
Oh my goodness, Andrew, what a lovely chat this has been.
(33:40):
I feel like we could just chat forever, but thank you so much for coming through the creative door.
You're welcome.
It has been such a vibe.
Thanks for tuning in for another episode of Through The Creative Door.
If you enjoy our episodes and find value in them, consider supporting us by making a donation.
(34:04):
Just visit buy me a coffee.com/through the creative door, or via the link in our Instagram buy where you can choose an amount and even write us a little message.
Every little bit helps, and we truly appreciate all of your support.
But if you can't donate, no worries.
You can still help us out by sharing our podcast with your friends and family, and leaving a review on your favorite platform.
(34:31):
Thanks so much for being part of our community.
We'll catch you on the next episode.
Bye bye.
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