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Aashka
Boldness and Beauty In Studio & Out
MEET THE PHOTOGRAPHER
Jim Roberts is a fashion and portrait photographer based in Hamilton, Ontario, Canada. Working under the name JBR Photo, Jim brings a professional approach to his work while putting a strong emphasis on the personal side of photography—the connection between photographer and subject that helps bring an image to life.
You can explore Jim’s work at www.jbrphoto.ca or follow along on Instagram @jbr_photo.
THE APPROACH
What’s something unique about how you shoot or approach a session?
Jim Roberts is a fashion and portrait photographer based in Hamilton, Ontario, Canada. Working under the name JBR Photo, Jim brings a professional approach to his work while putting a strong emphasis on the personal side of photography—the connection between photographer and subject that helps bring an image to life.
You can explore Jim’s work at www.jbrphoto.ca or follow along on Instagram @jbr_photo.
One of the things I focus on most is drawing genuine emotion from every person I photograph. I want the images to feel alive rather than simply posed. One of my favourite tools for getting there is laughter. I’ll joke around, keep the atmosphere relaxed, and give my models permission to have fun. A genuine laugh or spontaneous expression can transform an image, and often those unplanned moments end up being my favourite shots from the session.
A MOMENT THAT JUST WORKED
Tell us the story behind one image you’ll never forget.
One of the images I’ll never forget came about almost completely by chance.
I was scrolling through Instagram one day when I came across a post congratulating Miss North America 2025 on her recent win. I was surprised to discover that she was actually from my hometown of Hamilton. Her name is Ashley Borzellino.
On a whim, I sent her a DM that said something along the lines of, “I realize you must be very busy, but would you by any chance be interested in doing a photoshoot with a relatively unknown Hamilton fashion photographer?”
I honestly wasn’t expecting much. To my surprise, she replied fairly quickly and asked what I had in mind.
We arranged a shoot at Princess Point. While walking along the trail, I spotted a green bush covered with bright red berries. I positioned Ashley in front of it, had her back up as far as she was comfortable, and composed the shot with her toward one side of the frame.
It just worked.
The contrast between the green foliage and red berries created a beautiful natural backdrop, while the colours and texture complemented Ashley’s black hair and sweater perfectly. It was one of those moments when the location, lighting, subject and composition all came together almost effortlessly.
It also taught me something I’ve come to appreciate about photography: sometimes the best backgrounds aren’t the ones you planned for—they’re the ones you notice while you’re walking to the next location.
You can see the photo on my website.
FROM CONCEPT TO FINAL EDIT
Walk us through your creative process—from concept to final edit.
A lot of times, my creative process actually begins at runway shows. While photographing the show, I’m not only watching the clothing—I’m watching the models. I look for people who are confident, expressive and not afraid to smile. Those qualities often translate beautifully into a portrait session.
After the show, I’ll introduce myself and talk with a few of the models. If we connect and they’re interested in working together, we’ll arrange a one-on-one shoot.
From there, we’ll usually communicate through Instagram, sharing ideas, discussing outfits and choosing a location that fits the concept. Once we’ve agreed on the details, we meet up and shoot.
I like to keep the atmosphere light, relaxed and friendly. There’s usually plenty of laughter. I’ve found that laughter does much more than create a great smile—it helps people relax in front of the camera and become comfortable enough to experiment with different expressions and emotions. Once that happens, we can really start creating.
When it comes to editing, I prefer to get as much done as possible in-camera. I’ll typically make subtle adjustments to exposure, give the eyes a little extra attention, remove obvious blemishes and do some light skin smoothing, while always keeping the person looking like themselves.
Once I’m happy with the first image from a particular setup, I’ll use those settings as a starting point for the rest of the series and make minor adjustments as needed.
The goal is simple: create an image that makes someone stop scrolling and think, “Wow.” If I can make someone’s jaw drop, I’ve done my job.
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THE TOOLS BEHIND THE WORK
What gear do you swear by—and what’s your approach to editing?
My go-to combination is my Canon R5 paired with the RF 24-70mm f/2.8. It’s incredibly versatile and gives me the flexibility to move from environmental portraits to tighter fashion compositions without constantly changing lenses.
In the studio, my hero modifier is the Glow 5-foot Octabox. It gives me a beautiful, controlled quality of light and is extremely versatile.
My philosophy with editing is fairly simple: Get as much right as possible in the camera. Post-production should enhance a strong photograph, not rescue a bad one.
Once I’m happy with the first image from a particular lighting setup or location, I’ll use that as my baseline for the rest of the series. From there, it’s generally about fine-tuning rather than completely rebuilding the image in post.
BEYOND THE CAMERA
What’s the most unexpected thing photography has taught you?
When I first started in fashion photography, I was captivated by the excitement and glamour of it all. It was completely new to me, and honestly, a lot of fun.
I also had a healthy dose of imposter syndrome. I was surrounded by talented models, designers, makeup artists and other professionals, and I wondered whether I really belonged in that world.
As I became more experienced, I realized something surprisingly simple: They’re people, just like me.
Most of the models, designers and creatives I’ve met are friendly, helpful people who are simply trying to build their careers and create something they’re proud of. Once I understood that, the intimidating glamour of the fashion world became much more approachable.
Of course, I’ve met a few prima donnas along the way—and a couple of egos large enough to require their own lighting setup. But for the most part, the people I’ve worked with have been fantastic.
Photography taught me that confidence and professionalism don’t have to come with an attitude. You can take your work seriously without taking yourself too seriously.
THE EXPERIENCE MATTERS
What do you want to be known for—as a photographer and as a creative?
I want to be known as a photographer who is talented, professional and, most importantly, fun to work with.
I want people to know that when they book a shoot with me, they’re not just getting photographs—they’re getting an experience. I want my models to leave the session thinking, “That was a great time—and I got some incredible photos.”
I also want to create an environment where people feel comfortable bringing their own ideas to the table. If a model has a creative concept, an unusual pose or suddenly says, “Hey, what if we tried this?” I want them to feel completely free to suggest it.
For me, the ideal shoot is a collaboration: I bring the camera, lighting and experience, the model brings their personality and creativity, and together we create something neither of us could have produced alone.
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