‘Naked in the House’ was a photography contest that ran from 2000 to 2005. Canada’s top photographers were invited to a secret location and given one hour to shoot a mystery nude model—one camera, one lens, one roll of film, and only natural light.

Back in 2007, I caught a rerun of the show on late-night TV. I was still a beginner then, shooting empty buildings and quiet landscapes. The idea of photographing people (especially naked one) was terrifying. My social anxiety made sure of that. Fast-forward eighteen years, and somehow I’m in a stunning apartment in Milton-Parc doing exactly that.

This modern version loosens the restrictions. We’re not limited to one lens or a roll of film (this would really limit the pool of talent in this digital day and age), but there’s still a catch: images must be turned in before we leave, and no post-processing is allowed. That means shooting straight to JPEG, something I haven’t done since… well, probably before I ever saw the show.

It’s a weirdly thrilling feeling knowing every frame I take over the next sixty minutes is final. No RAW safety net. No Lightroom rescue. Just what comes out of the camera. Like walking a tightrope without a harness. Oh! I must not forget to set my white balance.

Ciara, the organizer, greets me at the door. We quickly do some catching up while climbing the stairs to the apartment. She opens the door, introduces me to Cassandra, the model, and… we’re on!

I do a quick scan of the space. Time is tight. I form a plan.

First stop: the bathroom. Clean white tiles with black trim, big windows, lush plants, and a massive tub. Dozens of candles give off a warm flicker, cutting through the cool grey daylight. Perfect contrast. I shoot both artistic nudes and some softer glamour-style portraits.

Twenty-five minutes in, we move to the office. There’s an upright piano for the model to lean on. There’s a large plant that I can use in the foreground to create interesting compositions and highlight certain body parts. There’s also a large patio door with sheer curtains that let me do some silhouette work.

Final stop: the entrance. There’s a skylight, arched openings, and bold artwork. I switch to my wide-angle lens and shoot from below to exaggerate the lines and architecture. I want her to look statuesque, larger than life in this dramatic space.

The hour flies by. But I stuck to the plan, hit every location, and stayed in rhythm.

I hand in my SD card. No edits. No retakes. Just raw (but JPEG) vision.

I’m happy with what I got.

Now it’s time to go home and start the most brutal part of the process: choosing what to submit.