Bella Pt2 Domestic Goddess

Bella came back to me, asking to do a second shoot. This time at her home. Now, I’ll confess to being particularly flattered by this invite. Our homes are at once the spaces we consider safest, but they are also where we can be most vulnerable. I am a very private person, and my home is my sanctuary. I am particularly selective when it comes to people crossing the threshold.  

Bella clearly felt comfortable with me (and vice versa) during our first shoot and we discussed something a little racier. Tasteful, but not the kind of themes typically associated with the great outdoors-especially given the wet and changeable conditions. Both of us commented that far from being closed-minded, we have become increasingly selective about the people and concepts we are happy to work with.

 

We continued the lingerie theme and four sets in total. Bella sent me a selection of themes and ideas she wanted to explore, which was extremely helpful as a pre-shoot template.   There was a decent amount of natural light in her home, but still required some help from a reflector and, for the kitchen shots, a Godox speedlight set to 1/125.

I’d taken these with my trusty A6000 set to ISO 400 and 33mm 1.4 Viltrox lens. In some respects, a 23mm 1.4 would’ve made some of the angles and shots easier but the lenses' wider angle can also give less flattering results, so I went for the 33mm with a 50mm 1.8 in reserve.

Ship To Shore...

 A combination of Christmas and Covid surges meant shooting models and indeed, people generally were off the table. Determined to get creative behind the lens. Poor weather and low light were similar things to negotiate, and I didn’t fancy a mission, distance-wise. 

Then came a tip-off about a boat graveyard, around 35-40minutes from me. Cursory checks of tide times, parking, and general conditions deemed it viable, so I set off at 730am the next morning. Easily accessed, the site is decidedly eerie, was a palpable sense of being watched. Nonetheless, I was undisturbed for 45 minutes, whereupon I felt it best to discretely plod on home...  

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.   

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.  

  

Professionalism

Yet again, a shoot has been thwarted by a model’s profound lack of professionalism. Now, before I discuss some non-defamatory specifics, lets explore the definition of professionalism.

It’s defined by the Oxford Learners Dictionary as the “high standard of skill demonstrated by someone well trained in a particular job”. I would expand by saying it’s a holistically high standard of performance, and behaviours expected of someone who makes a living from a given trade/profession.

Models have an unenviable reputation/notoriety for being unreliable and sometimes downright unprofessional. This has been my experience of novice models. Those dipping their toes into the water, rather than with serious direction/intent.

This group often discover modelling is more demanding than they imagined. A Vegas based model used an amusing acronym GWT (Girl with Tits) to describe those with little talent, or professionalism. Someone who expects to stand there and be paid, just as the GWC (Guy with Camera) has no interest in photography beyond access to young wo/men.

Sweeping hobbyist models and hobbyist photographers into this unsavoury category, would be grossly unfair, and inaccurate. There are many professionals who have/used status/power to push levels and generally mistreat models. Nonetheless, it irks me when I’ve booked and planned a shoot…

We’ve agreed the theme, I’ve planned and prepared my equipment, driven to the venue…Only to discover the model has cancelled without notice, or can’t be bothered to turn up.  Taking a deposit, to cover lost time and other costs certainly helps.

Talking of which, I’ve heard models say they’ve turned up for group shoots and one or more models has been under the influence of drink/drugs. Any professional studio/photographer will simply stop the shoot, if only for insurance purposes. Someone drunk or high is extremely unpredictable and exposes everyone to unnecessary risk.

On a wider level, any model, or photographer feeling uncomfortable should stop a shoot. I’ve done so twice, a decade back. In the first instance I realised the model was being cajoled into a level she was not comfortable with, by her “partner”.  So, last Thursday…

Communication had been reasonable and having double checked all was fine the night before, I drove thirty miles to her chosen studio. Having just engaged my car’s handbrake, I received a text from her “Manager” advising that she would not be shooting today. Hmm, well I’d come this far, and wanted to investigate this claim a little further.

Having knocked at the door, I was met with her manager and we had a very insightful, conversation. He was a semi-retired photographer who recounted similar experiences throughout his career. His stance (rather like my own) is to drop a model who failed to show; or cancelled with zero notice. I explained that I am compassionate and recognise emergencies can hit us like a hurricane. Some things can’t be helped. However, the professional thing is to communicate this, promptly. I learned she also had an underlying and relatively serious condition. Something she should’ve disclosed during our initial communications.

Not difficult to appreciate why a model wouldn’t, for fear of being dropped. However, if I know, I can take an informed view and possibly re-book, should they be suffering before the shoot.

I can also factor more frequent rest breaks, avoid poses which induce pain/discomfort etc. I’m glad I spoke directly with him. I also advised I would not consider working with her in future and would explain this via email, which I did.    

So, with these things mind and in the interests of balance, some things to consider when working with models and photographers.

Working with Models.  

As a photographer, select a model who works to the levels you are looking to capture (e.g. fashion, lingerie, editorial, topless, implied nude, art nude, fetish etc) and do not ask them to go outside of these, ever.

Check references carefully. Some novice models will not have any, which requires greater scrutiny. In these instances, I turn to pre-shoot communications. If they cannot explain what drew them to me, and my port-folio specifically, I end things there. I now insist upon a deposit too, to compensate, should they not show, as agreed.

Keep all communication online. Either via email, or personal messages if communicating through port-folio hosting sites. Be clear about the nature and structure of the shoot. What where, when, how many and turnaround times, for images.  

Check all your equipment the night before, ensure all batteries are fully charged. This includes flashguns, tripods and other portable lighting.

Ensure your record keeping is flawless and always ensure you have seen and take copies of photographic id e.g. driving licence, passport etc confirming their age and identity.

I prefer non-invasive third party/chaperones at shoots, regardless of genre. Protects model and photographer from accusations of wrong doing. Steer clear of anyone (model, or photographer) refusing to entertain the idea.

On the day of the shoot, ensure a studio, or location is correctly set up, has a suitably private changing area and you are there, on time. Ideally you will have exchanged contact numbers at least 24hours beforehand, in case of unavoidable delay.

Ensure model(s) and third parties are sober i.e. not under the influence of drink/drugs. Stop the shoot, if there is any hint of incapacity. Similarly, do not be afraid to stop the shoot (and leave) if you are made to feel uncomfortable at any point.

If you are paying the model, ensure monies are readily available i.e. if you are paying cash, have it beforehand.

Direct models professionally, politely and essentially, as you’d want to be treated yourself. NEVER touch; or invade a model’s space.

Both parties tend to warm up, during the first twenty minutes, or so. Allow for this. Stick to the discussed levels.

Factor in short, comfort breaks- for both parties and be very clear about shoot durations.

Occasionally, a model may want to go from fashion to lingerie, or lingerie to implied. I decline, especially if this is your first shoot, together. What may appeal at the time, may be regretted later. In these instances, I suggest they go away, think about it and re-book a subsequent shoot. Gives them time to “cool off” and consider whether its genuinely right for them.   

Models: Some Notes On Working With Photographers

Research potential photographers carefully. Look at their style, their genres covered. Is their style compatible with yours? Check references carefully but also see how they communicate and keep these discussions in writing.

Either via email, or port-folio hosting site messages.  If someone’s port-folio is exclusively nude and your intention is fashion, it would be prudent to look elsewhere, or ask some very searching questions. Swerve anyone who is resistant to a well-behaved chaperone/third party.

If you feel uncomfortable, or a photographer/assistant has overstepped the mark at any point, do not be afraid to stop the shoot and leave-promptly. Be guided by your gut and check exit points upon arrival.

Turn up at the location, at the agreed time and fully prepared to shoot. Sickness doesn’t work to a schedule. If you suddenly awake feeling terrible, then contact them as soon as possible.

That said; do not ring them at 3am! (unless the shoot is very early). 72-48 hours is a reasonable cancellation period for either party. Time is costly, and do not be surprised if he photographer will not work with you, in future.    

Respect the photographer, studio and their equipment.

Do not be surprised if a studio/photographer insists in a reasonable deposit upfront (but check terms) this is to safeguard against no-shows and other issues. If you have agreed the fee, pay it. I’ve had models turn up, insisting I pay them. Hopefully you can see the importance, of recorded and thorough pre-shoot communication.

All the models featured in this post were professional in every respect, and a joy to work with.