Gena Rose & Graffiti

Gena approached me via a purpleport www.purpleport.com and expressed an interest in organising a shoot. Pre-shoot communications were excellent, and quickly established direction(s) she was looking to take her modelling.

She’d seen some recent shoots with Krystal and wanted to create something along similar lines. She had some locations in mind, including an abandoned police station. Despite genuine potential, further research and closer scrutiny demanded a rethink.

We eventually settled on Southend on Sea and combining beach, with more urban/alternative themes. Time, location and structure agreed, my second-shooter (Spare camera body for location work) decided to expire, without any warning. This was while doing some fetish themed work.

An expensive weekend, given my car had succumbed to a grumbling CV joint. One which had also formed a seemingly permanent union with the driveshaft. Meanting that too, needed replacing.

On Sunday, I switched to my CSC and 30mm prime lens. Great for street photography but not my first choice for photoshoots. Though attitudes are changing, models tend to be sceptical and perceive them as inferior to SLRs. Models, regardless of experience need to feel confident in a photographer’s abilities.

I was familiar with the area and had taken a drive down during the August bank holiday. Primarily to do some street photography, with a quick bit of location scouting for good measure.

Having met up, we weaved through the side streets, where it was theoretically quieter and warmed up with some headshots/portraits. In common with many town centres, street homelessness is widespread and very apparent.

Affording people dignity and respect goes a long way to averting potentially awkward/dangerous situations. However, hunger, substance misuse and poor mental health can prove a volatile mix.  

We attracted the attentions of passers-by but most people were extremely considerate. Nonetheless, although all publicity is good…We didn’t want an audience and after twenty minutes, headed to the beach.

With the tide long gone and unlikely to return for seven hours, we were forced to abandon our concept of her emerging from the water. Holiday season done, we made good use of an essentially empty beach. Gena stands 5’2 and I often shoot shorter models, while lying down, which suggests they are much taller.   

Ninety minutes in, reserves were flagging, which is not great for creativity. So, we found a suitably clean café’. Conversation flowed easily as we refuelled, relaxed and reviewed the .

Bill settled, we headed out to Westcliff-roughly a mile away, stopping at various points to shoot. This beautifully restored VW fired our imaginations, particularly Gena’s (She’d studied car mechanics).

Wanting to avoid introspection and potential confrontation, we sauntered along the side streets and to some distressed warehouse doors. The dilapidated remains of a car dealership were our last backdrop of the day but won’t be our last collaboration...

Quarries & Cranes-the Perils and Pleasures of Location Shooting

Location shoots generally speaking; require forward planning, especially since there’s much greater potential for things to go wrong. Krystal and I had been planning a pier-side carousel theme. However, we are still seeking written permission from some local venues.

From the traders’ perspective, the last thing they want is a model and photographer leaping aboard their rides. Unannounced, and putting a dent in their day’s trading. No more than we’d appreciate being photo-bombed by a mob of bored teenagers.

So, having pressed the lateral thought button, I researched derelict sites within 5 miles of Clacton on Sea. Within 20 minutes, I'd honed-in on an old quarry, disused since 1997.

Access appeared easy and, save for those teens, chances are we would be left to our own devices.

However, quarries and other industrial sites are potentially lethal potentially lethal. Risk assessments and a highly attune hazard perception are crucial. We weren’t going to be climbing any structures, nor shooting in water. 

Nonetheless, signage warning of quick sand, hazardous chemicals and equipment need respecting. 

Upon our arrival, it was full of construction traffic…

Yep, redevelopment was well underway and therefore, access an absolute non-starter.  No matter how good a case I could present, I had no legitimate business here and no site foreman, in their right mind would grant us access/turn a blind eye. 

Model and photographer safety as I’ve said elsewhere, is paramount.  blatant trespass is asking for trouble.

Slightly dejected, we wandered through the nature reserve, back to my car. I had jotted down a few other, potential backdrops. The second was also being renovated-another none starter.

Ever wondered how something pops up, when you’re not actively pursuing it? Well, we happened upon a boat yard and a very helpful man, who said we could shoot wherever we liked, provided we respected others privacy. 

Not difficult frankly, at least for those, with a modicum of emotional intelligence. So, a few boating wrecks later and we settled on this long disused crane as a centre-piece. Lovers of peely paint porn, rejoice.

What Makes a Model?

There is an argument that within the post-modern, virtual world that we can be anything, or indeed, anyone we want to be.

Traditionally, female editorial/fashion models should be 5’9 to 6ft tall, with a 33-inch bust 23-inch waist and 33-inch hips. This is not the only criterion, agencies tend to recruit on a more rounded basis and the modelling industry has much broader horizons.

Similarly, while there is still a baseline, entry level price point, camera equipment has become increasingly affordable. A base line SLR and kit lens bundle can be had for £399-new, cheaper second hand.

On the one hand, this is extremely empowering and allows people to participate and develop their photography. For whatever purpose. On the other, it invites a certain element. One who seeks to use a camera as a means of gaining access to (usually young women) with darker motivations.

True, though thankfully rare, I’ve met some very technically able photographers, whose moral compass is somewhere in the foundries of hell. However, the Guy with Camera (GWC) is more easily spotted. Typically, they can be sussed out in their approach and communication/lack thereof.

They may carry a “professional looking” camera but have no port-folio/website, or one cultivated from stolen images-the right click n’ save manoeuvre. Chances are, at some point, in a model’s career, regardless whether internationally published, aspiring, or hobbyist, they will encounter one.

Before we go any further, the GWC must never be confused with an enthusiast amateur, or hobbyist photographer. These tend to enthuse about their equipment, images and enjoy working with models from a creative perspective.

Now, I have different cameras for different contexts. SLRs being the most obvious choices for location work. I run Sony’s older Alpha (Minolta) since its what I’m most familiar with, and lenses are in plentiful, inexpensive supply.

I also use mirrorless Compact System Cameras (CSC) with APSC sensors, for street photography and similar situations where the larger camera would attract unfavourable attention. Given most models are expecting SLR, I tend to introduce the smaller camera much later. Most are very impressed with the results, too.    

  

I am always shocked but not ultimately, not surprised by the stories models tell me, of inappropriate “photographer” behaviour through the course of our shoots. Common incidents include pushing levels e.g. trying to cajole a model into doing nude/topless work when lingerie is their stop-point. Sadly there are also those who touch, grope, or otherwise intimidate.

Pre-Shoot Communications

A while back, I was discussing this topic with a Vegas based model (who also has a fantastic Urbex You tube channel)  https://www.youtube.com/watch?v=xVKmu1SCKzo  Red flags for her, include a photographer who cannot construct an articulate and detailed paragraph regarding their approach, the nature and duration of the shoot.  

I also work along very similar lines, since a photographer is potentially vulnerable. References are a good indicator, but I am also guided by discussion and gut. 

Two of my first questions are (a) what attracted them to me in particular (b) What direction they were looking to take their modelling/port-folio. My sole objective is to create the standard and type of images, the client is looking for. However, it also gives much wider insight, into their motivations, character and ultimately, ensures both parties know exactly what to expect.  

This keeps things fluid and comfortable, on the day. If our creative approaches are wildly different, or otherwise incompatible, I will politely decline. I’ve done so, on several occasions and this policy has served me well.

Sure, we all start somewhere, but a series of selfies, gives little indication of potential, or aptitude. If you are starting out, as a model and with serious intent, decide upon your genre(s)/levels. Then find a photographer, one you feel comfortable with, and invest in a paid shoot.

Case Study: Carla

Now, before I became preoccupied with a more cautionary, some would say, darker note. I was talking about models coming from all walks of life. Carla stands 4ft 10 and is agency signed, with two years’ experience.

She approached me wanting to expand her port-folio. Contradiction in terms perhaps but she openly describes herself as shy. Hence, I was particularly keen to establish a good and extended rapport beforehand. With a relaxed but conscientious approach, the two hours flowed nicely, and we were pleased with the results. She’s someone I would happily work/collaborate with in future.