Bodyscapes & Broken Camera Bodies

Bodyscapes are something I do from time to time and often as a way of introducing something interesting/quirky to a fine art shoot. After all, even with a highly-skilled, imaginative model, there are a finite number of possible poses. 

The most obvious route, and one I often take is asking the model to bring along scarves, lingerie to mix things up. It’d been the best part of eight months since Venise and I last worked together but she was excited by the brief and moreover understood it very well.  

There are exceptions to every rule. However, any kind of nude project requires comfort and excellent rapport between model(s) and photographer(s). Not something I would consider with an inexperienced model-unless they’d been a life model or similar before. 

I’d bought the model motorcycles for pennies on a popular auction site for this project during lockdown and the Samsung NX300 body had been stuttering and stammering for a good while. Essentially a pretty paperweight, I liked the retro rangefinder styling and we both felt it a better fit, (metaphorically and literally) than my default Minolta SLR. 

My little pear tree bestowed some fruit this year, so we reasoned it rude not to deploy its gift.  I shot these from her bedroom using natural, my Sony A7, and 50mm 1.8 lens. Not to everyone’s tastes perhaps, but we were pleased with the results.  

 

Venise

Venise is an experienced, versatile model. Our virtual paths crossed when she was looking to shoot, and I was seeking mixed race/olive skinned models.  

I do a fair few fine art (nude) commissions and am flattered models feel particularly comfortable with me, in said contexts. However, while specialisms are good, typecasting is undesirable.  

For our first shoot, we decided upon a Boudoir and lingerie theme, shot using natural light, at her home. Rapport blossomed quickly and within an hour, we talked in terms of future shoots. This led to a subsequent, two hour nude/implied theme, the following week.  

The model's home can be ideal for these styles. They are in a familiar, comfortable environment, and theoretically, most relaxed. 

However, this isn't always so. Therefore, I explore the following, during formative, pre-shoot dialogue.

Technical

In technical terms, I like to establish room sizes/floor space and the amount of natural light available. This will dictate what lenses, reflectors and portable lighting I bring along.  

Logistical

House/flat shares of a platonic nature are also very common, especially in big cities. 

Not necessarily a deal-breaker, so long as you can work undisturbed. Four housemates all begging to use the toilet, while you're doing a shower, or milk bath shoot, is at best, inconvenient.

 Dynamics

Then there's personal circumstances/household dynamic. I'm perfectly happy with a non invasive, third party/chaperone. Jealous/controlling, or indeed coercive partners, are non-starters. 

These were all moot points here, and with other models I have undertaken similar commissions with. Nonetheless, thorough preparation is key. 

  

Daisy: Anonymous Nude

Out of the blue, I had an email from Daisy, a catwalk and commercial model, with nine years’ experience. Apparently, she loved my work and specifically, art nudes. Given her status and high-profile client base, more traditional nudes were a non-starter. Career suicide, in fact.

For a wealth of reasons, I am very particular about who I will undertake nude commissions with. Though there is a huge difference between erotica and pornography, gratuitous nudity, or tabloid “Glamour” work has no draw for me.  

Standing 5’11 tall and weighing 9.5 stone, her lithe, yet extremely feminine figure were perfect for creating intriguing shapes and close-up body-scapes. Given anonymity was the overriding theme, I discussed a slightly surreal element. One that Daisy seemed amused by. Bottom line (and this goes for any trade/profession) never ask someone to do something they do not feel confident, or comfortable with.

Though fluidity does strike during shoots, they must always remain within the boundaries agreed. I’ve had models book me for lingerie/boudoir themes, then feel midway, they’d like to try topless/implied. I gently decline. People often do things in the heat of the moment, without considering the longer-term consequences. I may consider this level, as a separate booking, a few weeks later. Once I am confident they have thought it through.   

Having established terms of reference, perimeters and levels, I loaded up my KA with Sony Alpha and A7 bodies, 50 and 30mm lenses. Portable lighting and reflectors, spare batteries and a full tank of fuel.

Thankfully we were shooting on a bright day and the building had a good supply of natural light. Never underestimate the importance of ambient temperature, when undertaking nude, boudoir or similar genres, either.

The anonymous aspect means covering the face, either with hair, masks, or similar props. This can leave the model feeling acutely vulnerable. Especially, if they are unfamiliar with the photographer/assistant. Therefore, I maintain a running dialogue, saying where I am, and what to expect next. I also break regularly, so both parties can review the work.

This reveals what we’ve achieved, where to go next, what worked and sometimes, what didn’t. We noted a couple of shots, which were more explicit than either had intended, so these were deleted. Solid rapport lead to the shoot overrunning slightly, but time is another boundary that must never be overstepped.  

An extremely rewarding shoot with a delightful woman and a consummately professional model.  

  

Toyah!

Due to a series of extremely unreliable/unprofessional “models”; and the lost revenue, I have virtually stopped working with novices, or indeed, anyone who cannot be referenced. It’s a two-way street. There are equally unreliable/unprofessional, and indeed, predatory photographers.

Toyah liked some of my images and subsequently, expressed an interest in working with me. Maybe I’ve watched “Blow Up” one time too many, but we decided upon a 60’s theme. One characterised by bold colours and prints.

She also had ready access to vintage clothing, which was another definite plus. Referencing aside, her communication was bang on, and she even confirmed all was good (without prompting) the night before.  We went for three changes and used a combination of residential and commercial backdrops.

Unusually, I decided to bring my Alpha 6000 and 60mm f2.8 prime along, with A58 and 50mm 1.8 prime, in reserve. The 6000 is my “studio” camera. Primarily, because I know it’s compatible with most remote triggers.

The older “Minolta” mount A series, less so.  Two hours and three outfit changes later, we were happy with our combined efforts, discussed turnaround times and went our separate ways. Nonetheless, I suspect we will work together again, before too much longer.