Winter Fashion in The Woods with Emma

Emma reached out to me in the context of a winter fashion shoot. She had plenty of ideas and having thrashed out the finer details, I knew just the location. This was mutually convenient, and according to forecasts, conditions were favourable. Cloudy and 11 degrees. In practice, it was decidedly overcast and felt closer to 7/8 degrees, when windchill was factored into the equation.  

This meant we reviewed our work, from the relative comfort of my car and in between clothing changes. I went for 50mm 1.8 and 60mm 2.8 lenses, Sony A65 and A7 bodies respectively. I also packed my hand-held “Light sabre” LED light, in case we needed a tune able light source, to compliment the reflector.

  

However, a few test shots confirmed this would be unnecessary. Umbrellas were also packed, just in case the weather turned. They’d also double as useful props.  

Standing 5’9 Emma’s height and build favours editorial and fashion commissions. She can also apply makeup to a flattering standard and is very self-ware. The latter helps in the context of posing, although, like all good models, she readily accepts direction.  

Relative seclusion meant we could work, and she could change, without interruption, or unwelcome introspection. Two and a half hours later, pleased with the in camera results, we concluded our shoot and I went home to post-process.   

William

William is an aspiring model, who wanted some help with his portfolio. Standing 6ft tall and weighing 11stone, he has promise for commercial, editorial and fashion work.

He had a very clear idea of his objectives, and what would flatter him. Given December has been decidedly wet, a studio setting might’ve been a more obvious choice. However, the weather forecast was favourable, and William had some specific backdrops in mind.

We shot for two hours and I was impressed with his quiet determination, willingness to learn, and receive constructive criticism. He was due to meet with some  agencies this week, and I’m hoping he got signed.

Editorial Exposure

Following a fortnight’s unreliable, unprofessional, timewasting “models”, I was delighted to find a message from Efi. She wanted to shoot an editorial theme, in central London.

I don’t shoot much editorial, nor do I visit the capital much these days. However, I knew she’d show, on time, fully prepared and full of enthusiasm. We met at St Paul’s Station, and these steps proved an ideal starting point.

The public can pose a real challenge. Thankfully, even in London, most people have proven discrete and respectful. Nonetheless, the sheer volume can frustrate. I took a series of frames laying on my side, timing shutter presses exactly.

Waiting for them to leave the frame completely was futile. I had no desire to spend extended periods removing them, in post-production, either.

Efi has a very clear idea of what she wants to achieve, which is extremely helpful. This is matched only by her work ethic. We went through three outfit changes and walked at least five miles.

Aside from stopping every few frames to assess progress, poses and styles, we worked for four hours. Light was fading fast, towards the end, my little Samsung NX3000’s F2 lens was struggling to keep pace. Ideally, I like to keep the ISO at 100, for optimal quality. I didn’t want to be encumbered by a tripod either.   

Predictably, the Sony’s 1.8 fared much better. I’d like to add a 50mm 1.4, to my ensemble, at the right price. Ordinarily, my location shoots are done by 1530-1400 during December.

Studios are less prescriptive, set up for f8 (f7.1, sometimes 5.6) and 1/125. Well within the scope of most kit lenses. However, where appropriate, I enjoy the variety and challenge of location work.

David Bailey once remarked that “Cameras have attitudes”; Context is crucial, and it seems he is referring to the attitudes they invoke. Those expressed by the photographer and those, being captured by them.

I’m inclined to suggest this also applies to camera attitudes/personalities. Both the Samsung and Sony developed an annoying, intermittent focusing fault. One which has never struck before, and has (famous last words) been exorcised…

Lipstick, Powder & Paint...Collaborating with Ellie Thurgood MUA

There’s no shortage of people, claiming to be makeup artists. Unemployed talent show hopefuls, dripping in disastrously ill matched foundation, being cases in point.

Qualified makeup artists (the sort delivering commercially credible results) are highly trained and skilled.

I was approached by Ellie Thurgood https://purpleport.com/portfolio/elliethurgoodmua/ , a part time MUA, who’d attained her NVQ level 2 funded by, and alongside another role. Ellie was talking in terms of moody portraiture. Despite a lack of references, she communicated her ideas coherently, came across as focused, reliable and professional. Gut instinct paid off.

With light and climate becoming unreliable, we agreed on an indoor location. I left model selection in Ellie’s court. She’d know the attributes required and I didn’t want the shoot scuppered by an unknown (and potentially unreliable) candidate.

I headed to the East Midlands, on another mission. Ellie quickly recruited Jerri Eliza https://purpleport.com/portfolio/jerrieliza/  Location, timing and suggestions flowed between us, via networking sites and other, digital platforms. Ellie was bringing her portable ring light, I opted to keep things simple. Flashguns, Sony Alpha SLR, Samsung NX CSC, batteries, portable LED “wand” and reflector.

Oh, and of course, sustenance for all parties. Miserable models, or (more likely) surly photographer could prove a real creativity killer during a four-hour shoot. We’d all agreed Monday evening-7pm.

I arrived on set at 6.45, Ellie 5 minutes later. Jerri was already there. Real world introductions done, we unpacked and set up. I’d gone for a 50mm 1.8 prime, set the flashgun and fired a few shots, then tweaked the settings to suit.

With a relaxed, yet purposeful mood, talk turned to our backgrounds. Something of a sociable loner (contradiction in terms, anyone) I am fascinated by people, which probably explains my transition to social photography.

Jerri happened to mention her family were of Irish origin, which explained her very pale “Celtic” complexion (although they had been in London’s East End for several generations).

She’s grown up in Newham (Custom House and later, East Ham). I’d lived in the central park area of E6. A stable and relatively, safe district 20 odd years back. However, inner city districts are always transitioning to some extent and once the creatives enter, developers aren’t far behind…

On best behaviour, I managed to subdue any urges to lament the area’s loss of derelict buildings/backdrops. She’d also worked in animal welfare, with an impressive understanding of dog breeds and their foibles.

My lighting calculations were accurate. Alternating between silver and bronze reflectors also achieved some positive contrasts. I have a resistance (rather than aversion) to golden hues but it appeared complimentary to Jerri’s tones and hair colour.        

Two striking looks (and variations) and good rapport saw time literally evaporate- We said our goodbyes, and I headed home to begin post-processing.