#model!john

Aw man! Anon, I haven't thought of them for a minute! (Original AU series here)

That was going to be a bigger series, but I got sidetracked by other AUs big time, I'm definitely happy to share some more thoughts. Thanks for asking 😊

(Minor CW for v brief allusions to eating disorders and body image below. Much bigger CW for the same as well as drug use and violence if you're reading the first part of the original series linked above).

So after Gale gets Bucky a camera this Christmas they get engaged (see the Christmas-themes oneshot for this AU here), he's unstoppable. But he never learns the polished or artsy side of photography and instead leans heavily into a more natural, candid style--like the types of photos you take on family vacations or when you go to the festival, you know? Dreamy and nostalgic and full of life. But the photos he takes are always private and he never gets into the industry.

They become quite the duo. Gale takes photos of John a lot and uses them in his portfolio, and this leads to clients asking for John to model for them. John is very selective and always tries to get something out of it for the LGBTQ+ Centre he works for. This is usually some type of promotion or support for it. He modelled a range of bags and satchels once, and all the kids at the centre got a free book case or laptop case out of it.

Almost inevitably, some brands try to convince Gale to model with his boyfriend, but Gale refuses point blank. The only person he's ever posed for is John and it will stay that way.

If John really likes the idea of some photos of them together, and gets real familiar with the timer function on his camera, that's their business and the photos are kept in a very private place.

John tells Gale about Curt, and Gale goes with John to the grave sometimes. He meets John's dad, who is not happy the more his son gets into modelling because he hears all kinds of things about how awful it is for your body image. And Mr Egan hounds Gale pretty regularly checking up on his son, making sure he's eating properly and he's healthy and happy.

Because of this Gale convinces John to sit down with his dad and talk to him, and be open with him about his recovery. Mr Egan is never quite okay with his son's career choice whilst he's a model, but they get to a place where he talks to John directly about it, instead of going through Gale.

John doesn't model forever. Once he decides he's done, he takes a part time youth worker role at the centre, and spends the rest of his time doing whatever he feels like. he tries other part time jobs just to see if he likes them, or volunteers for animal shelters, or in rewilding groups. He even joins a weekend walking club run by a bunch of old ladies and he loves it. They fuss like hell and think it's hilarious when he flirts.

7k, NC-17, Fluff & Smut, 

Author Summary: “ Sherlock has spent his life thinking that he’s ugly, and it really wouldn’t bother him except for two things: a) he wants John to like him, and b) he finds himself on a case involving underwear modeling. But apparently body positivity comes with a bloody side dish of serial killing, and John in nothing but pants is very distracting. What’s an ugly duckling to do?”

You can read Part 1 here.

Also, free drabble if anyone can spot the nods to some of our fave fics in the fandom ;)

It takes John a few days to call.

John used to lap up attention when he was younger, but that all disappeared after Curt. He'd gotten back a lot of his sociability and affability during his recovery, but most of the time he still feels like a ghost of his former self. He's still figuring out if that was a good thing or not.

So, although he’s not body conscious, the idea of standing in front of a camera and being the sole focus of a photographer; of his image being scrutinised - it all leaves him feeling a little more bare than he's comfortable with.

But he feels hypocritical, since he's preaching to the kids at the Centre that vulnerability is okay. And it's something his therapist is trying to get him to embrace more, himself.

So, he eventually calls the number on the card.

A smooth, very low, and very polite voice with a little drawl answers. It sends a shiver down his spine John knows isn't nerves as he inwardly scolds himself.

He tells the guy his name and Gale is gently enthusiastic. Helen told him John may be calling about the calendar and Gale is thrilled to help out with a project like that.

He explains to John that they’ll take some simple shots the first day, and it’ll all be very private so he doesn’t have to worry about a room full of prying eyes. And it’ll just be a handful of shots, too. A simple selection they can use for calendar mock-ups to help Helen recruit more volunteers.

Despite himself, John can’t help but feel put at ease with how professional and reassuring Gale sounds.

A few days later, John gets to the studio and finds the Bunk House at Thorpe Abbots Studios unlocked so he just heads right on in.

Inside he finds a man fiddling with the set. One look at him and John immediately pegs him as a model. Helen got another volunteer by the looks of it, and damn. He is stupid handsome. The kind that turns ya dumb.

And it helps John relax even more because as soon as the photographer gets a hold of this guy, he’ll forget all about John and make him carry their kit bag or something.

And John will do it, if it means he gets to look at the ungodly pretty man.

So, before the photographer turns up and takes all of this guy’s attention, John introduces himself - and finds he suddenly can’t shut the hell up.

“Did Helen rope you into this, too? You must do this all the time, looking like that. Not that it's all about looks! You’re obviously a real nice guy, doing this for charity, but you could do it professionally. If you wanted. Do you -? I’m not - I'm a bit nervous. You get nervous? But the photographer seems real nice; his voice is god, so fine, and I don’t mind listening to that order me around all day-"

Gale cuts him off - John still hasn't let him introduce himself - and says, “Thanks, but I hope I’m not that bossy. Gale Cleven, nice to meet you.”

Joh is equal amounts embarrassed and delighted. Having all of this guy’s attention feels thrilling.

He tries to flirt to work through the nerves; asks Gale if he’s got cute outfits for him to wear, that he’d clean up so good as a firefighter or a cowboy or a priest.

Gale smiles and refuses to comment and explains that he doesn’t do that kind of photography. He tells John about capturing people as they are, as they want to be, as they could be. And usually never how the person sees themself.

That’s what he sees as the purpose of the calendar, beyond raising money: showing real people, the stories on their faces and the map of their bodies; what they are and are not saying.

John is entranced listening to Gale talk about photography. And because he’s still a little egotistical, John asks what his body is telling Gale, and Gale says he’s not sure. He hasn’t learned to see him yet, but they’ll get there. Today is just practice.

Gale gets them started and tells John to just move around in the space however he wants, wearing whatever he wants - shoes on or off, jacket open or closed - though the way Gale eyes his jacket makes John thinks he'd rather see it off, and not for any fun reasons. He wonders what about it is so offensive to the other man. But despite his evident hang ups about sheepskin, Gale's focus is on whatever makes John feel comfortable. Whatever feels right.

At first John is awkward. He walks around swinging his arms and puffing up his cheeks and he hears a soft clicking as he does so.

Gale asks him questions to help him through. When he asks about the sheepskin John wears, John stands up straighter, confident and proud and tall and strength.

After he takes it off now he’s warmed up, Gale asks him about his work with the charity and the Centre and John lights and and gestures around wildly and runs his mouth. He’s full of energy and passion.

But when he almost, accidentally, veers into his own story, Gale reassures him that they’re not going to go anywhere he doesn’t want to go, and Gale clicks a photo there and then of John staring down the camera - at Gale - looking soft and open and trusting and wondrous. He has a faint blush. His mouth is slightly open. Curls have flopped over his forehead and his head is tilted back just a little. Gale keeps that photo in his portfolio for the rest of his career. It’s one of his favourite shots.

They finish up quicker than John expected (or liked, if he was being honest), and Gale promises to call and let him know when they’ve been developed. John has final say over which ones he shows Helen.

And John sees his shot and runs with it. “Better give you my number then, hm?”

They meet at a quiet café that serves tea that John did not even know existed. Gale looks eager, excited and he pulls a small bundle of A4 photos from an envelope.

John sees himself in a way he never did in the mirror. He sees self-assurance; vibrancy; life and fire. And gentle softness.

He’s speechless.

Gale isn't aware of the accomplishment that is. But he blushes at the look on John’s face is is very pleased at his reaction.