Don’t Take Our Decay Away

There’s a lot to say for studio shooting, when the mercury slides into single figures. However, Krystal and I weren’t deterred by November’s chill, so went in search of something quite dramatic.

Beacon Hill Fort has been a fort since Tudor times. It was subsequently upgraded to meet the needs of both World Wars. The fort was finally decommissioned I 1956, and had been steadily reclaimed by Mother Nature, Graffiti artists and transient visitors, in the decades since.

It has been purchased by Barry Sharp and Paul Valentine. Not for redevelopment, but rather restoration. The roads, buildings and structures are being cleared of 20^th/21^st century rubbish. Anything that remained at decommission, will be retained. Trees, ivy and other foliage damaging the structures, is being removed and any unsafe areas fenced off.

The vision is to reconnect services, electricity and telephones to appropriate buildings, restoring them to their decommissioned state. Their intention is that Beacon hill will be re-opened and managed, for the benefit of the local community.

Serendipity is a recurrent theme of my location shoots…Having found the site, we began shooting at outbuildings and sea defences, accessible from the roadside. 90 minutes later, we were feeling the cold. Back to the relative comfort of my MK1 KA’s heater and some refreshment.  

Ten minutes hence, curiosity got the better of us. So, we walked to the main gate and I contacted Barry Sharp, on the off-chance we might be permitted access. In principle, he had no problems with my request. He graciously invited us to speak with Paul, who was already on site. 

Within a few minutes. Paul arrived at the gates and graciously invited us inside. We were given a map detailing access points and agreed to the “Own risk” proviso.  My experience in industrial contexts and indeed, previous professions means I risk assess very carefully, and understand the potential dangers presented. Although Krystal was rather perturbed at finding herself stood in a pentagon, while posing in the observation tower’s upper floor!  

By 2.45, light was at a premium. However, we worked quickly and achieved the desired results.

A big "thank you" to Barry and Paul, for being such generous and accommodating hosts.

https://www.beaconhillfort.org.uk/

Reliability & Referencing

Recently I’ve had two zero-notice cancellations and a no-show. The reasons vary. From models citing sudden academic deadlines, to more serious, health issues.

I don’t employ a blanket policy for these situations, since it can often depend on personal circumstances. Sickness doesn’t work to a schedule, the most reliable, properly maintained cars, or indeed childcare can let us down. I’ve been there!

However, unless there are mitigating circumstances (that I have been made aware of), two cancelations, or a no-show and there’s no way back with me. This is particularly acute, in a commercial shoot context, where an experienced, professional model is being paid.

A lot of planning goes into shoots. From the choice of location, appropriate equipment, snacks/drinks to maintain sustenance, pre-empting potential problems and their solutions etc.

I was recently approached by a model, who suddenly went cold, cited a whole heap of pressing engagements. She has subsequently been wanting to shoot. Intuition tells me she’ll cancel again. From my perspective, there are plenty of reliable, committed models to choose from... 

Thankfully, my pre-shoot screening process weeds out most potentially/ unreliable candidates. Being out of pocket and there’s little redress, other than a negative reference, which will only induce another, by retort. 

Another model, seemingly keen to work with me, postponed one week. Fair enough, I hadn’t booked a studio, or got in my car… Being self-employed, there’s always something needing my attention.

The shoot was rearranged-same time, this week. I got in touch, 48hours beforehand (not to mention, the morning of said shoot), checking she was still able to attend.

She confirmed and so I headed out... 

Upon arriving at our agreed meeting point, I received a text advising she was unable to attend, for seemingly genuine reasons. Could we move the shoot to 1pm instead, or move to another day??

I was already irritated but seeing as I was already there (1 hour away from base), agreed to the later slot. Light would still be good, and chances are, the weather would’ve also cheered up a bit.

Ultimately, she didn’t show but I got a real sense of her vulnerability, from talking with her father. Our focus shifted to locating her and ensuring she was safe. Thankfully, she was. I’m a compassionate person, so suggested she inform people of her conditions beforehand, allowing understanding and, informed choice.  

I also suggested she could concentrate on finding the right support, getting stronger before resuming modelling. She has the makings of a very capable model, so it would be a real shame if she bowed out.   

Blocking

To date, I have only blocked one model. She was based in Bedfordshire, a 90minute drive from me. This coincided with a trip to the Midlands, so theoretically, a great fit. After some formative discussions, she went cold. She refused to disclose the venue’s address, or supply her phone number, 24hrs before the scheduled shoot. I blocked her in preference to leaving a bad reference.

A Cambridgeshire-based model also approached this week...Then I noted 4 no-shows, out of 7 shoots. Not worth the risk. Let alone fuel, time and hassle.   

Models (and indeed, photographers) can “Ghost” (fall silent on a project). However, so much easier to act professionally. Say you’ve had a change of heart; or if arrangements have been made, give notice. Ideally at least 72hours.

The Flip Side

By the same token, I know of models who have been approached by photographers, seeking to shoot fashion, when their port-folio consists exclusively of erotic/adult images. 

Having gone through a phase of shooting fine art nudes, I can appreciate its easy to get typecast.

I’m happy (With the right models and appropriate safeguards in place) shooting this style. Nonetheless,  there are several other genres I’d prefer to be associated with.

The model in one instance, asked the photographer to detail the shoot specification, 48hours beforehand, or she would not attend. A request he declined. She refused to attend and subsequently received a negative “no-show” reference.

Double Trouble?

Duo shoots are something I do infrequently. Much boils down to disinterest in the projects, and specification presented to me. I’m not talking about couple portraiture, which I find candid and endearing. Rather, cheap pseudo erotica, with little artistic, or commercial value. 

However, Krystal and Gena approached me, thus exception made.  

Being completely candid, I was going on trust and established rapport between the three of us, rather than the brief per se. Besides, while boundaries are important, there’s the need to challenge ourselves and indeed, our perceptions.

KA header tank being replaced, I commandeered an elderly but extremely well-maintained Nissan. Timely too, since Gena had ordered a canvas from me https://michael-stenning.format.com/store . Dimensions (100x100cm) that my otherwise Tardis-like KA couldn’t host. Upon arrival, it transpired Krystal had succumbed to a burst water pipe, hence soggy carpet and curious plumber. Undeterred, we began setting up and deliberated about backdrops.

Both models are strikingly different in terms of skin tone, hence it was imperative we chose a complementary colour. White, or grey was too tame, and I suspected would leave Krystal looking washed out. Confirmed during a few test shots. 

Warm pink was perfect.

The shoot commenced with Lingerie, with leads and soft domination theme running through. Then of course, some PVC and a smattering of solo shots, primarily for Gena’s port-folio.

Contrasting colours, sizes and heights proved a reciprocal mix and frame to frame, the energy was positive and fun. I opted for a combination of 50mm 1.8 prime lens, Godox flashgun and natural light, streaming in from two large windows.

Several outfit changes and three hours later, our shoot concluded. I transferred the canvas to Gena’s car, then headed home, to commence post-production work.

Deadlines allowing and assuming it’s a daytime session, I aim to get a selection of retouched images to model(s), that evening. This also applies, for commercial and domestic customers.

Continuing the duo theme, I also shot this couple shortly afterward, at Juice Photography Studio https://www.facebook.com/Juice-Photographic-Studio-1736661156638282/  One I’ve used on several occasions, this year.

Spacious and well-equipped, Simon and Brian are equally welcoming, and straightforward in their approach. Suffice to say I’ll continue to put business their way, and have no hesitation, recommending them to other photographers/models/MUAs/ similar creatives.