When Milo's photographer suggested finishing his summer session in black and white, our first thought was: why would you take a boy this loud and make him quiet?
That, it turns out, was exactly the point.
In colour, Milo's photos are all energy - red polo, green grass, mid-laugh. Casting directors love them for commercial work, and most of his bookings come from those frames. But a book that's ALL energy reads young, and the monochrome frames do something different: with the colour gone, you notice the eye contact. The stillness he's capable of for about four seconds at a time. The photographer calls these "the ones that book the editorial jobs" and she has been right twice now.
The session itself was Milo's favourite kind of nonsense. He does not know what black and white means, obviously - he's six. He just knows that for the "special camera photos" he's allowed to not smile, which he treats as a thrilling act of rebellion. You can see it in the bench frame: that is the face of a boy who has been told he doesn't have to grin and cannot quite believe his luck.
Half his book is now monochrome. He remains, in person, extremely colourful.