Carla: Spring Shoot by the sea

 

I’d been almost a year since I’d worked with Carla and I was immediately struck by how far her confidence had grown since then, though she had lost none of her humility, warmth, and charm. She’d approached me about a winter fashion shoot but then decided she fancied shooting in Spring when the weather was more temperate. She proposed a beach theme with a mix of dresses and swimwear, which was a little different from recent commissions, so an easy “yes” on my part.

After some discussion, we decided upon Walcott Beach in Norfolk and took a gamble on the weather. Despite being dry for several weeks, various forecasts were predicting rain, but that’s a calculated risk with location shoots and just calls for some forward planning and creativity. I took my trusty A6300, which has reasonable weather sealing along with my full frame A7 and 40mm lens.

Carla’s bikini hadn’t arrived, so she brought several dresses with denim shorts and crop top as contrast. Thankfully the weather held, and the strong tide offered some powerful, natural effect. Working on location also requires some sensitivity to those around you. I am particularly careful around children and families, but aside from the odd curious and decidedly soggy spaniel we had large areas of beach to ourselves. Oh, and the weather proved equally well-mannered. 

Vik: Warm Smiles & Slavic Charm

 

Vik is an aspiring model who saw my work and expressed an interest in shooting with me. She was looking to return to modelling after a break and sought to boost her confidence. Vik felt slightly constrained by studio settings and wanted to do something location-based. I suggested a mixture of spring fashion, headshots, and portraits, since the latter could be used in various professional contexts, modelling and otherwise. 

Vik was fairly local to me, but having not worked together previously, I was eager for her to choose a location she felt most secure and comfortable in. She also advised she would be bringing her husband as a chaperone. Chaperones are again, absolutely fine with ne, so long as they are an uninvasive, supportive influence. 

I had also urged her to bring "herself" as I like to capture someone's character and personality throughout the session. Upon meeting I learned she was originally from Slovakia and, having family from the former Eastern block we chatted about Slavic people, some of the cultural similarities and contrasts. I had always been very taken by their tremendous warmth that lay beneath a slightly austere exterior, shaped in no small part by the Soviet era where outward expression of emotion was frowned upon.  

Conversation flowed readily, her comfort and confidence grew progressively, and I clicked away unobtrusively bringing a mix of posed and candid captures. Vik was very self-aware and had a wonderful desire to learn and develop. At 5'9 (175cm) she is relatively tall and I was keen to capture this in the most flattering ways possible. We were mutually pleased with the results of our first two hours, and I hope to work with her in future.  These were taken using my trusty A6300 and 50mm 1.8 Sony prime lens. 

Blue: Tattooed Dancer

 

Blue has a dance background and approached me regarding shooting a range of themes, from lingerie to full-frontal nudes. Themes I am comfortable shooting, provided they tell a story and where appropriate, capture something of the model’s personality.

Blue was very personable, warm and engaging, which makes my job that bit easier, although I always make time to cultivate rapport before and during the shoot. I took these with a single lens-mounted reflector and using only window light.

Thankfully there was ample, negating need for slow shutter speeds and tripods, allowing me to weave about seamlessly taking frames while the conversation flowed, and Blue wasn’t overly aware of the camera- a technique I practiced while getting candid shots of people in industrial contexts. We achieved a pleasing amount well within the allotted two-hours and have agreed to shoot again at a mutually convenient time.  

From Here To Maternity...Bella & Bump

 

Bella got in touch, keen to do a maternity-themed shoot, but one with a bias toward portraiture, rather than nudity. She privately announced her pregnancy during our last concealed boudoir shoot, prefacing this by saying she was likely to be taking a break from modelling.

She floated the idea of a maternity shoot around her second trimester, when the pregnancy was more established and she’d also feel comfortable announcing this to family and friends. I expressed an interest, though left it very much in her corner-everyone’s circumstances, experience of, and relationship to, pregnancy is unique.  

We initially toyed with the idea of concealed nudity. We’d seen beautifully captured examples using subtle use of low-key lighting but on balance, decided something clothed, yet still intimate and sensual was the best route. This is why clear pre-shoot communication and planning are pivotal. Model comfort is key. if not, it will be glaringly obvious in their body language and facial expression. Similarly, never try and cajole a photographer into doing something they are not comfortable with. 

I let Bella take the lead and as with our earlier shoots, everything flowed very naturally. I chose nature and colour for the maternity-specific frames, mono for added mystery/intensity using the urban backdrop. Ultimately, both of us were pleased with the results.  

Rose

 

Rose is a very experienced model from a performing arts background. I’d seen her work and was very aware of her professionally for a few years. Serendipity and closer geographical proximity saw us arranging a shoot. This had to be rearranged on a couple of occasions, due to bereavement and other, unforeseeable events.  

We discussed themes beginning with boudoir and culminating with art nude.  

The graduation is part narrative but on a very practical level, respect for the model. While experienced photographers and models can quickly find rapport, especially if pre-shoot communication is of a high standard and conducted properly, gentle, tapered progression is always preferable. Basic decency and respect aside, it makes for a more comfortable, relaxed and fluid shoot-which ultimately tells in the images.  

Rapport quickly established; our shoot extended the two hours scheduled. I shot the mono images with my Fuji XT100 and 50mm 1.8 Viltrox lens. The colour were taken with my Sony A7 and 35mm 1.8 and A6300 with 23mm 1.4 Viltrox .  

One Location, Two Models

 

Some photographers seem to default to a set location, which to me can quickly become tired and doesn’t necessarily work with the model(s) concerned. I don’t but every so often, make exceptions. Mary wanted me to do some promotional portraiture and related business themed headshots. Krystal got in touch saying she would be in the area that week and essentially, asking if I was coming out to play...Spoiler alert, the answer was yes to both.  

On both occasions, I chose the Neptune quay area of Ipswich given the mix of peely paint porn, abandoned buildings, high quality murals and of course, the marina. Though I used some of the same locations for both, I deliberately avoided carbon copies. Krystal and I found a very obviously derelict looking building and steel door with obviously receding paint. She and I have worked together for years and enjoy the unbeaten path.  

Mary had only worked with me on one previous occasion, so I was wary of leading her away from the immediate area and where she felt most at ease. Often, it’s about making the best of your environment. Noting Mary had a faux leather “Brando” jacket, I posed her with this Kawasaki. Krystals very bold red dress saw us employ the phone box, the buoy while the tunnel and skate park made effect contrasts.  

There were some interesting alleys and features-suitably public but set back from potential, unwelcome intrusion.  This was another opportunity to use the full frame A7 and dedicated 50mm prime lens. Mary’s entire shoot was captured with the A7, Krystals a mix of the A7 and A6300 with wider angle lens.     

Bella Sensual & Concealed

I am often asked what differentiates boudoir from glamour photography. In a nutshell, I would say glamour is where a woman is typically sexualised and objectified, whereas boudoir has a wider narrative, of which the model is part of. More significant is both parties in mutual agreement over levels and tone.  

Bella is extremely comfortable with concealed and implied nudity but nothing more overt. Concealed, in common with art nude and erotic can mean different things to different people. I suggested a few concepts which Bella wasn’t unduly comfortable with, so we shelved them. We have worked together on several occasions, which makes these themes much easier.  

I have undertaken boudoir and lingerie themes where the model has towards the end, wanted to raise the level to topless. I will always gently decline, inviting them to contemplate this further, away from “the moment”. If after ten days or so, they still want to try topless, or indeed nude themes, they can get back in touch and we’ll do a shoot plan and arrange a mutually convenient date.  

Again, this reinforces the importance of proper shoot planning and clear communication around expectations and terms of reference-all ahead of the shoot. She approached me on Thursday, and we’d thrashed out a theme, lingerie, lighting, angles and locations that morning, arranging to shoot that Sunday morning.    

Our primary focus was sensuality, interwoven with more playful themes. Bella was keen not to have her nipples on view within the shots and as can happen, there were a few we spotted when reviewing every twenty minutes or so. These were accidental captures-we hadn’t noticed the sheet slipping at certain points.  

Comfort and complete trust between model and photographer are paramount and if either party is slightly uneasy, this will bleed through in the images created. Again, there’s a fine line between capturing something intimate (where the model has invited you into their world) and voyeurism, where someone has invaded it. Given the limited space and changeable lighting, I took those with her beneath the satin sheets using my full frame A7 and 50mm 1.8 lens, those of Bella with the maracas using the A6300 and 33mm 1.4 lens.