Risk it for The Rust...Jaywick and Krystal J

It had been a few years since I’d been to Jaywick and a few months since I’d shot with Krystal. I received a “Coming out to play?” email and fancied catching up. She’d had a challenging period in her life and wanted to shoot in part, as a creative distraction, a means of working through things. A philosophy, or mindset that resonates with me.

Jaywick is often presented as one of the most deprived areas in the UK and it’s certainly been starved of investment over the years. However, while romanticising poverty and deprivation is misguided, a palpable sense of community permeated.  

We started in a field, worked our way through to Jaywick Sands and some of the side streets. No one interfered or gave any cause for concern. Much of this is about being somewhere with a purpose, owning your space, and thus communicating that you have a right to be there.

In my experience, it’s also about being respectful and interacting graciously with those around you, while not courting attention. Arguably strong sunlight was our biggest challenge. I shot these with the A6000 and 33mm 1.8 and the A6300 with Sigma 60mm 2.8 (set to f 3.2 for most of these). 

 

Back to the Boatyard. Work, Rest & Play with Krystal J

 I received a “Coming out to play” invite from Krystal. She hadn’t a location in mind, so I suggested the Pin Mill Boat Graveyard. She was very excited by the slightly eerie vibe. We share a mutual fascination for derelict and abandoned places and this wavelength certainly helps cement the creative harmony. Krystal is an experienced model. She started with bridal and transitioned toward the “alternative” genre via custom motorcycle publications, including Back Street Heroes.  

I’d prepared for most eventualities- towels, bucket, solvent cleaner, snacks, change of clothes, waterproof hiking boots and first aid kit. However, we were able to shoot uninterrupted, save for the odd friendly greeting from dog walkers negotiating the wooded trail above. An elderly couple were also capturing the wrecks with their SLRs, so we kept a respectful distance.  

 

I was earlier than originally planned and traffic was light, so the tide was also in our favour. The final set was taken as the tide was racing in, but we had a good 90 minutes prior to that. All were shot using my Sony A6000 and A6300 bodies with Viltrox 23mm 1.4 and Viltrox 33mm 1.4 prime lenses.   

Sonya

    

Sonya is a qualified diver, who had recently discovered modeling. She’s also a part-qualified accountant and runs a successful bookkeeping business. Due to some very bad experiences, I have all but stopped working with novice models. However, there are exceptions and I am happy to make them, where I see genuine commitment, ability and professionalism.  

I’m pleased to report Sonya has all these attributes, in spades. The brief was a street lingerie theme, which had amazing potential but needed careful planning and the ability to change, pose and shoot quickly.  

We needed to start early, in order to avoid drawing unnecessary attention, inducing discomfort from passers-by. We met at 730 and commenced within 15minutes. The tide was out, which inspired us to start on the beach using some boats as a backdrop.  

I spotted what I believed was a decommissioned gunship. It was indeed a gunship, but less abandoned that I thought and by the time we’d reached it, we were also calves deep in very gloopy, tenacious mud. Not the most auspicious start, although it broke the ice and we achieved some technically pleasing results.   

Having reconvened to our vehicles for some refreshments and cleanup, we resumed shooting along Old Leigh’s cobbled streets, Sonya had already dressed in her desired lingerie from the privacy of her car, while I fed parking meters and rummaged in the KA’s boot for a suitable change of footwear. A sheer gown preserved her modesty while mitigating some of the morning chill.  

Thankfully, we had the streets, largely to ourselves. It was busier than we’d anticipated but any passing people/vehicle traffic was very respectful, meaning we could meet her exciting and potentially challenging brief with minimal fuss.  

She moved seamlessly between poses and showed an ability rivaling that of some established models I have enjoyed working with. By 945 we were finished and went our separate ways. These were shot exclusively with my Sony A6300 and 50mm 1.8 lens. 

I am relieved she is delighted with the results and would welcome the opportunity to work with her on future commissions   

Emily

Emily got in touch, looking to work with me, on a fashion themed commission. Her communication was excellent, and she had a very clear (though not inflexible) idea of what she was seeking to achieve.

Well-travelled and articulate, she’d modelled in the not too distant past but wanted to refresh her portfolio. She was visiting family, so Colchester seemed the obvious meeting point.

Some of the grittier backdrops had gone-replaced by student housing. Thankfully I’d discovered a few hidden gems, while on other, recent business visits. I’d brought my workhorse SLR but predominantly shot using my Sony A6000 and 35mm Sigma 2.8 lens. A  slightly nimbler choice given these contexts.

We’d agreed to shoot for three hours (allowing for comfort breaks and review) and she’d come fully prepared with three outfits. I led her to a Greenway, where we shot a few frames against an electricity substation, before moving towards a railway bridge, with graffiti, for a slightly grittier feel. 

At this point, we decided to switch to a floral print dress, prompting her to change in a wooded clearing, while I stood watch, my back to her. We ventured back along the Greenway to a derelict, fire-damaged building. Fired a few frames there, before walking along East Hill and to what was once an antiques shop. I recall it being a café and second-hand bookshop back in the late 90s.

A good model knows her own body and which angles flatter her. Emily also poses well, with minimal direction, although is very receptive to this, and we were able to move quickly. Location work can be great fun, but public places can be very unpredictable. We chose Castle Park as our next backdrop.

We were conscious of another photographer, who had by the look of it, been doing some landscape/similar work. He lingered, firing a few frames, before my gaze indicated he wasn’t welcome. Thankfully, he took the hint and left. I have no problem with people being curious, for a minute or two and from a respectful distance. Longer and it becomes intrusive.

We were interrupted by another person, while using a weathered gate along Eld Lane. Just as I was about to press the shutter, a man announced, “Do they work?” He was referring to my dual sided, lens mounted reflector. Mildly irritated, I politely quipped “Yes, the best £2 I’ve spent in a very long time”.

Emily patiently adjusted her pose and I fired a few further frames, before moving on. Both of us were tolerantly amused by his interruption and felt it prompted a natural break. Time for beverages and a progress review.

After twenty minutes and some reflection, we decided on another print dress and some subway backdrops. We’d initially planned to begin shooting there but a flurry of overwhelmed mothers and police presence ruled this out.

 A cluster of Community Support Officers remained, but they didn’t pose any problems. Left to our own devices, we captured some nice images here, and by the station. One final review of our work, the three hours were up. She caught the train and I headed home to post-process.

  

Delight in Decay Some Shoots with Krystal J

Models and derelict buildings are a contrast I have always enjoyed. I moved to London’s East End in 1992. A time, when the landscape was littered with derelict factories, warehouses and indeed, domestic dwellings. Long gone now.

I discovered a mutual love of the derelict (and indeed, the area’s more characterful pubs) during some earlier studio and location shoots, with Krystal.  While out, on other missions I noted several locations in the Harwich area. We agreed they’d be particularly good settings for a PVC/latex themed shoot.

Being well versed in the legalities and related considerations, both parties knew we needed to work quickly. All three locations were quite exposed, which has some very definite pros and cons. 

First and foremost, it's pretty obvious what you are doing.  Suggestions of theft, vandalism, breaking and entering/similar wrongdoing can be ruled out.

The derelict petrol station forecourt being a prime example. Several police patrol cars and a steady stream of rubbernecking office workers passed us. Most slowed, out of curiosity-including the Police. However, no-one stopped, or interfered.

Conversely, some seclusion is required, for discreet changing/model modesty. Rapport between model and photographer also must be “on point”; So, the desired images can flow seamlessly. Depending upon the location, there are other, environmental factors to bear in mind.

Abandoned properties can have their share of danger. Nails, needles, asbestos and unofficial residents, metal thieves- being but a few. Oh, and if you are asked to leave, smile a lot and comply. The law of trespass is difficult to enforce. Criminal damage tends to be the default avenue.

Krystal brought three dresses and we spent around 30 minutes, at each of these locations.       

While out on a ride, I noted a farm house had been recently boarded up, with no sign of activity, during subsequent fly-pasts. Krystal was keen to model a vintage tea dress, so this seemed a surreal, although thought provoking backdrop.

Arriving on the day, there were signs that the property and grounds are still very much in use. A row of older cars and agricultural equipment lay equally dormant. No sign of other life, or mercifully, any bull.  

We only wanted to use the immediate frontage and exterior farm buildings. Not least, since the sun was very intense. I slipped the f stop to 1.8 and the shutter speed to around the 4000/5000 mark. 

I seldom stray away from full manual control.However, in those contexts where you need to move quickly, or lighting is very changeable. There is an argument, for selecting aperture priority and letting the camera decide the others.  

We moved to another location, for a quick retro phone box shoot. Then Krystal spotted a retro garage forecourt. I approached the garage owners, who were only too delighted to indulge us.  The copyright for these images, belongs to Stenning Photographic (Michael Stenning). However, prints may be purchased from my site. https://michael-stenning.format.com/#1