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…

Shooting with Sam

Sam is a novice model, who wanted to cultivate a strong port-folio. While modelling has certainly become less prescriptive, male models seeking editorial and fashion assignments should stand at least 1m80 tall. 

Sam stands 1m90 and weighs a commensurate 86kilos. He is looking toward fashion and lifestyle but very keen to avoid nude, implied, or similarly provocative style. Genres which might compromise his career prospects, beyond modelling.

Based in Chelmsford, Southend was within easy reach for both of us, and offers a decent mix of backdrops.

Having met by Southend Central Station, I took him to a favourite row of murals and shot a few frames to warm up, gauge camera settings and put him at ease. Several large retail outlets had folded, their premises shuttered and seemingly derelict. However, street homelessness was less apparent than September, when I shot with Gena Rose.

I didn’t want to reuse those backdrops, so we moved to London Rd. An alleyway, behind a row of derelict shops, to be precise. I was looking for a wrought iron/similarly industrial looking staircase.

These would provide a slightly edgier feel, while accentuating his height and build. Though seemingly deserted, being the alley was a dead end we needed to shoot quickly.

I switched to my Samsung NX3000 and 30mm f2 lens.

Discarded cans of lager, baby baths and a decomposing sludge also prompted more careful risk assessment.  Despite the heightened sense of alert, we progressed, uninterrupted and at a calm, purposeful pace for fifteen minutes.  

Next destination was a coin operated (and seemingly) self-service, Launderette.

Aside from two women (who later revealed they were hoping Sam was going to re-enact the iconic 1985 Levi’s 501 commercial) we were left in peace, to tweak settings, retouch hair, and thaw out a little.

Our audience was gracious but neither of us fancied a long, potentially difficult explanation, with an attendant, or owner. So, we smiled, nodded and moved to more salubrious, residential side streets. I’d parked along one, and clocked some garage doors, with peeling paint. Perfect.

Being private property, I knocked at the house. No-one was home, or at least, willing to engage. Therefore, being in full view of passers-by I directed Sam for several frames, and a total of ten minutes. By this point, (a good 90 minutes in) I decided we’d earned lunch, and a break.   

Re-fuelled, we headed to the Kursaal, and to our final set, since more wintry weather and low cloud were beginning to encroach. The old Grosvenor rock factory, and shuttered arcades proved perfect backdrops.

Heading back towards the station, we were approached by a young man, begging for money. I will buy food/coffee/similar but don’t give cash, since it is often used to fuel an addiction.

Something that became very apparent, when the man’s trouser leg lifted, revealing a badly ulcerated calf and foot, complete with track marks…All too prevalent in the once proud, and bustling seaside towns.