Kamzy Nuel is a self-taught fine-art photographer and visual artist based in Lagos, Nigeria. His photographic journey began in 2020, when he started making images with a smartphone during the lockdown. Over time, his curiosity developed into a sustained practice centred on portraiture, the human body, and visual storytelling.
Drawing on the poise of classical painting and the theatricality of Baroque imagery, his work explores the space between beauty, nudity, and meaning. Through conceptual images and collaborative processes, he invites viewers to question their assumptions, look beyond familiar social interpretations, and engage with the stories held within the frame.
His approach to photography is rooted in the belief that images can do more than capture appearances; they can challenge perspectives, evoke emotion, and open up conversations about identity, beauty, and human expression. By combining deliberate composition, visual symbolism, and a painterly sensibility, Kamzy continues to explore photography as a medium for personal expression and artistic inquiry.
As part of his feature with Business of Photography (BOP), Kamzy shares insights into his creative journey, the influences behind his work, and his perspective on using photography to challenge conventional narratives and encourage deeper engagement with the visual arts.
TO START, CAN YOU INTRODUCE YOURSELF AND SHARE A BIT ABOUT WHO YOU ARE, YOUR PHOTOGRAPHY JOURNEY, AND WHAT DRIVES YOU CREATIVELY?
I’m Kamzy Nuel, a fine-art photographer and visual artist. I started taking photographs with my phone during the 2020 lockdown, initially out of boredom. I photographed everything around me, from plants to people, and the positive feedback encouraged me to keep learning and developing my skills. Over time,
photography became part of who I am. Creatively, I’m driven by the need to express ideas visually and connect with people who may see something of themselves in my work. I may not build things in the traditional engineering sense, but I can turn ideas into images and use them to communicate.
BOUDOIR PHOTOGRAPHY IS A DISTINCT GENRE THAT COMBINES PORTRAITURE, INTIMACY AND SELF-EXPRESSION. WHAT FIRST DREW YOU TO IT, AND WHAT MADE YOU DECIDE TO PURSUE IT PROFESSIONALLY?
My interest began with a curiosity about nude art and nude photography. I wanted to create something different from conventional or commercial photography work that people might not encounter every day, and that could make them pause and think. I’m interested in using the human body as a visual motif to tell stories and explore ideas, while inviting viewers to look beyond the social constructs surrounding nudity and engage with the story I’m trying to tell.
BOUDOIR PHOTOGRAPHY IS SOMETIMES MISUNDERSTOOD OR REDUCED TO IMAGES OF SENSUALITY. HOW WOULD YOU DESCRIBE THE GENRE, AND WHAT DO YOU BELIEVE PEOPLE OFTEN GET WRONG ABOUT IT?
For me, nude and boudoir photography can serve different purposes. Sometimes it is a way to tell a conceptual story; at other times, it is about creating something beautiful. I’m inspired by artists such as John William Godward and the idea that art can exist for beauty itself. When I’m making conceptual work,
I begin with the story I want to tell and think about how to make it legible through the image. I collaborate with the model and develop ideas together. I can’t control how every viewer interprets a photograph, because people bring their own experiences to it, but I can be intentional about what I put in the frame.
One misconception I often encounter is the assumption that a nude body automatically makes an image pornographic or corrupt. I think it’s worth questioning how we came to view the body—our natural, original form—in that way.
YOUR WORK INVITES PEOPLE TO BE SEEN IN A DEEPLY PERSONAL WAY. HOW DO YOU APPROACH EACH SESSION TO ENSURE YOUR PHOTOGRAPHS REFLECT THE INDIVIDUAL RATHER THAN SIMPLY CREATE BEAUTIFUL IMAGES?
Not every image I make has to answer a deep existential question; sometimes, I simply want to create something beautiful. But when I’m working conceptually, I start with a central image or idea and build a visual mood board around it. I want the subject, the setting, and every element in the frame—including anything added in post-production—to support the story rather than feel arbitrary. From there, I develop the idea, find a model whose collaboration suits the work, exchange ideas, and move into the shoot and editing process.
FOR MANY PEOPLE, BEING IN FRONT OF A CAMERA IN SUCH A VULNERABLE SETTING CAN FEEL INTIMIDATING. HOW DO YOU HELP YOUR CLIENTS FEEL COMFORTABLE, CONFIDENT, AND IN CONTROL OF THEIR EXPERIENCE?
Communication is central. I often work with people who are excited to collaborate, including those who are new to this kind of photography, but the beginning of a shoot can still feel tense. I try to read the person and the moment rather than follow one fixed formula. Sometimes I show them an early image, sometimes we talk or take a break, and sometimes we simply slow down. I want people to know that their comfort matters, because discomfort can come through in the photographs. The approach depends on the individual and what the moment calls for.
TRUST, CONSENT, AND PERSONAL BOUNDARIES ARE ESPECIALLY IMPORTANT IN BOUDOIR PHOTOGRAPHY. HOW DO YOU ESTABLISH THESE WITH YOUR CLIENTS, AND HOW DO YOU ENSURE THEY FEEL SAFE THROUGHOUT THE PROCESS?
I check in regularly and ask how the person is feeling, whether they’re comfortable, and how they think the shoot is going. Trust has to work both ways: the model needs to trust my ability as a photographer, and I need them to feel able to communicate when something doesn’t feel right. For personal projects, we agree on the terms of the shoot and establish boundaries in advance. We can pause, stop, or reschedule if needed. Clear communication before and during the session is essential.
BOUDOIR PHOTOGRAPHY OFTEN CHALLENGES THE WAY PEOPLE SEE THEIR BODIES. WHAT ROLE DO YOU THINK PHOTOGRAPHY CAN PLAY IN SHAPING BODY CONFIDENCE, SELF-PERCEPTION, AND PERSONAL IDENTITY?
Photography can have a powerful influence on how people see themselves and how society understands the nude body. I find it interesting that a nude sculpture such as Michelangelo’s David can be widely celebrated as art, while nude photography is often quickly labelled pornographic or erotic. I think photography still has room to challenge those assumptions, and that requires creators to be intentional about what they make and how they present it. Some people have told me that seeing their photographs changed how they felt about themselves. Those moments are meaningful to me because they show that the work can affect someone’s self-perception, not just produce an image.
AS A PHOTOGRAPHER WORKING IN A GENRE THAT CAN BE SENSITIVE OR MISUNDERSTOOD, PARTICULARLY WITHIN CERTAIN CULTURAL AND SOCIAL CONTEXTS, HOW HAVE YOU NAVIGATED PERCEPTIONS OF BOUDOIR PHOTOGRAPHY AND COMMUNICATED THE VALUE OF YOUR WORK?
Early in my career, I spent a lot of time explaining that my work wasn’t intended to be erotic, pornographic, or corrupt. Eventually, I realised that people see images through the lens of their own experiences, cultures, and social norms. That made me more intentional about what my work communicates and whether an idea needs to be direct or can remain ambiguous. I’ve received feedback from people who feel my work allows them to see the nude body differently, without immediately attaching sexual connotations to it. I can’t control every interpretation, but I can be thoughtful about the work and give viewers a way into it.
EVERY BOUDOIR SESSION TELLS A DIFFERENT STORY. HOW DO YOU BALANCE YOUR ARTISTIC VISION WITH A CLIENT’S PERSONALITY, COMFORT LEVEL, AND EXPECTATIONS FOR THE FINAL IMAGES?
I work with models on personal projects as well as taking on client work, and the balance differs between the two. With clients, I first try to understand their vision and expectations, then offer ideas or suggestions where they’re useful. Their expectations help define the boundaries of the final images and how much room there is for experimentation. Personal collaborations with models often give me more freedom to explore my ideas, but both approaches depend on communication and collaboration.
BEYOND TAKING THE PHOTOGRAPHS, THERE IS THE RESPONSIBILITY OF PROTECTING THE PRIVACY OF THE PEOPLE IN THEM. HOW DO YOU APPROACH IMAGE OWNERSHIP, CONFIDENTIALITY, AND PERMISSION TO SHARE CLIENTS’ PHOTOGRAPHS PUBLICLY?
I discuss the intended use of the images and where they may appear before the shoot. I also communicate with the people I photograph before sharing their images publicly, so they understand how the work may be used and feel included in the process. Client work follows our agreed-upon arrangement, including whether images can be shared on social media. With personal projects, I keep models informed about possible exhibitions, submissions, or other uses. Clear expectations and ongoing communication are important.
BOUDOIR PHOTOGRAPHY REQUIRES A PARTICULAR BLEND OF TECHNICAL SKILL, EMOTIONAL INTELLIGENCE, AND CREATIVITY. WHAT HAS THIS GENRE TAUGHT YOU ABOUT PEOPLE, VULNERABILITY, AND STORYTELLING?
This work has changed how I listen to and understand people. During shoots, especially when someone feels comfortable enough to open up, we sometimes have deep conversations about their lives, experiences, and what they’re going through. Those interactions have helped me understand people better and have deepened some of my relationships. The process of thinking about how to tell stories through images has also taught me a lot about people and about life
WHAT WOULD YOU LIKE SOMEONE TO UNDERSTAND OR FEEL WHEN THEY ENCOUNTER YOUR BOUDOIR PHOTOGRAPHS, ESPECIALLY SOMEONE WHO MAY NEVER HAVE CONSIDERED EXPERIENCING A BOUDOIR SESSION THEMSELVES?
I hope people approach the work with an open mind and allow themselves to be curious. I want them to ask questions: Why is nudity being used here? What does the beauty in the frame represent? What might the different elements be saying? I’m not trying to dictate one correct interpretation. I want people to look beyond an immediate judgment and give themselves the chance to discover meaning in the image.
LOOKING BACK ON YOUR JOURNEY SO FAR, WHAT HAS BEEN YOUR MOST SIGNIFICANT LESSON OR DEFINING EXPERIENCE AS A BOUDOIR PHOTOGRAPHER?
One of the biggest lessons has been learning to trust my gut and trust the process. I’ve also found that working in boudoir and nude photography has made me a better listener and communicator. I’ve learned those lessons through the work itself and through the conversations and collaborations it has made possible.
FINALLY, IN A WORLD WHERE PHOTOGRAPHY IS INCREASINGLY ACCESSIBLE, AND IMAGES ARE CREATED EVERY SECOND, WHAT DO YOU BELIEVE MAKES A PHOTOGRAPH TRULY MEANINGFUL AND WORTH REMEMBERING?
For me, a photograph becomes meaningful because of the story it holds, the memory it captures, or what it seeks to document. I’m always asking myself what I want to capture, what I want to document, and what moment or idea I want to freeze in time. That intention is what makes photography meaningful to me.
