This shoot within “Dinner for Two” focuses on a more playful and ironic take on intimacy by placing a romantic setup in a setting where it doesn’t quite belong. It’s set in shallow water, with both people dressed in elegant clothing, creating an immediate contrast between refinement and environment.
For this one, I wanted to lean into the idea of romance in the wrong place. The outfits feel formal and intentional, almost like they’re meant for a high-end dinner, but instead they’re standing in the ocean. That contrast is pushed further with the props. Instead of a traditional meal, there’s something as casual as McDonald’s being treated like fine dining, with Coke poured into wine glasses and styled as if it’s something expensive. It plays on how we often romanticize moments, even when they’re built from something ordinary.
The water itself adds to that feeling of disruption. It’s not a stable or typical place to sit down and have dinner, which reinforces the idea of stepping outside of routine. At the same time, the softness of the setting, the movement of the water, and the styling keep it feeling light and intimate rather than chaotic.
Compared to the rooftop and rubble scenes, this one feels the most playful and visually ironic. The rooftop moves into a more intimate and “out of time” stillness, while the rubble scene becomes more performative and emotionally charged, built around staged interaction, contrast, and imbalance. This shoot instead establishes connection through humor and visual contradiction, showing intimacy in a more light and spontaneous way.
Overall, this shoot is about how easily we can turn something simple into something romantic, and how stepping out of the ordinary can make even the most unexpected environments feel intentional and intimate.
