Sarah and the Snake - An Editorial Photography Collaboration
- Nick Johnson
- 59 minutes ago
- 6 min read
Fearlessness and the Power of Being Seen.
A look at one of my favorite photoshoots with Sarah in Eugene Oregon fom 2012.
Looking back at these images now, more than a decade later, the thing that still strikes me most is the tension in them. When people see them for the first time, they’re usually reacting to the same thing: the juxtaposition between vulnerability and power.
On one hand, you have a nude human body. Something we instinctively associate with exposure and vulnerability. On the other hand, you have an eleven-foot python wrapped across that body, something that carries a very different set of associations: strength, danger, primal energy. What’s interesting to me is that those two ideas don’t cancel each other out. They coexist, and in some ways they amplify each other.
That coexistence is what drew me to the idea in the first place.
The Original Idea
The concept started fairly simply. I was intrigued by the idea of the snake as wardrobe, essentially treating the animal as a fashion accessory. Not clothing in the traditional sense, obviously, but something that could wrap around the body and function visually in a similar way.
It’s a strange idea when you say it out loud, but that’s often where the most interesting images begin.
Once we started talking through the logistics of it, though, it became clear pretty quickly that the success of the image wasn’t going to come from the novelty of the snake itself. It was going to come from the presence of the subjects. Both the model and the animal had to be calm, comfortable, and fully present in that moment. If either one of them felt forced or tense, it would show immediately.
So the focus became not at all about “getting a shot a girl with a snake” and instead about creating the conditions where those ciritical moments could actually happen.
Working With Nude Subjects Professionally on Set
Whenever people hear that a shoot involves nudity, there’s often a lot of discussion about how delicate the situation is and how careful everyone needs to be. I’ve always felt that framing misses the point. Respect shouldn’t suddenly appear when someone is nude: it should already be the baseline. If a conversation or behavior wouldn’t be appropriate with nudity involved, it probably wasn’t appropriate when everyone was fully dressed either.
On my sets, everyone has a job to do. There are no spectators. I don’t necessarily limit the number of people in the room, but I do limit the number of people who are there without a purpose. If someone is present, it’s because they’re contributing to the outcome: hair and makeup, assistants, stylists, the animal wrangler, anyone helping make the image happen.
Just as important, everyone - especially the model - knows they are empowered to speak up at any time. That can mean pushing back on a pose or styling idea that doesn’t feel right, asking for a break, grabbing water, or simply taking a moment to reset. The goal is never to push someone through discomfort for the sake of a shot. When people know they have that agency, the environment becomes collaborative rather than tense.
I don’t suddenly change my demeanor when clothing comes off. If I became hesitant or awkward in that moment, I’d be the one making it uncomfortable. When everyone understands we’re there to do our jobs professionally and respectfully, the energy settles into a focused, productive rhythm.
Preparing for the Snake
By the time the snake arrived, myself and assistants Glen and Ben were already well into preparation. Rheanna and Kaila had hair and makeup well underway. Lighting had been dialed in, and we had the room temperature adjusted to keep both the model and the animal comfortable.
The wrangler, Nathan, had carefully planned the timing around feeding and handling so that the snake would be calm and cooperative during the shoot. There’s a lot of thought that goes into working with animals safely, and Nathan did a great job walking all of us through what to expect.
The model, Sarah, was genuinely excited to meet the snake. She’s an animal lover, so the idea of working with one was something she embraced right away. That said, even with that enthusiasm, the sheer size and weight of the python were still surprising once it actually came out.
Seeing an eleven-foot snake up close has a way of getting your attention.
One of the biggest lessons from Nathan during the shoot was patience. You can’t force a snake into the pose you want. If you try to control it too aggressively, the animal will resist. The better approach is to move with it - to let it settle, take breaks when needed, and allow its natural movement to guide the image.
Once we leaned into that rhythm, things started to fall into place.
Why Sarah Was the Right Model
Sarah ended up being an incredible choice for this project.
When I first approached her about the idea, I actually wasn’t sure she would be interested. She doesn’t typically do nude work, and I wanted to be upfront about what the concept involved. We talked through the idea and the team involved and she immediately understood that the project had intention behind it. It wasn’t about shock value or gratuitous nudity.
She said yes almost right away.
There was definitely an atmosphere of anticipation on set. Not nerves exactly, but a sense that everyone understood this was going to be an unusual moment. Especially for Sarah who was the one who would ultimately be holding and interacting with this large animal.
But once everything came together - the hair and makeup, the lighting, the snake draped across her - something shifted. She stepped into the moment completely. Her posture changed, her presence changed, and you could feel that shift in the room.
She wasn’t reacting anymore. She was owning the image.
The Fearlessness of Being Seen
For me, shoots like this always come back to a broader idea about what it means to be seen.
There’s a level of alchemy that happens when trust, vulnerability, and creative intent all align. When someone agrees to participate in something like this, they’re doing more than just posing for a photograph. They’re stepping onto what feels a bit like a diving board over a dark pool.
You know you’re about to jump. You know people are going to see the result. And you’re trusting that the person capturing that moment will present it in a way that honors what you brought to the image.
That kind of trustfall isn’t something I take lightly.
The Role of Collaboration in Editorial Photography
Even though my name might be attached to the final image, I’ve never thought of photography as a solitary pursuit. Projects like this feel much more like conducting an orchestra than performing a solo.
Everyone involved contributes something essential. The model brings presence and courage. An animal wrangler brings expertise and safety. Hair and makeup shape the visual language. Assistants keep the technical side of the shoot running smoothly.
When everyone is working toward the same creative vision rather than their own individual agenda, something special can happen.
That shared focus is what allows an image like this to exist at all.
An Invitation
Projects like this only happen when people are willing to trust each other and lean into something a little bold.
If you're someone who feels drawn to work that requires presence, vulnerability, and creative courage whether as a model or subject, I'm always interested in exploring ideas around by editorial photography collaboration.
And if you're a creative professional who thrives in collaborative environments - hair and makeup artists, stylists, assistants, videographers, or other visual storytellers - I’m always open to connecting with people who care about building thoughtful, intentional work as a team.
The best images rarely come from a single person working alone. They happen when the right group of people comes together around a shared creative vision.
— Nick
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