Morning Worship Amongst Falling Leaves

I specialise in working with newcomers and models returning to the profession. I have no upper age limit, but am reticent to work with anyone, younger than 21.

The reasons are varied both legal, moral and personal. I shoot a variety of styles, from fashion, portraiture and wedding to what’s termed implied and classic/art nude. Valid ID and record keeping are not the issue here.

Rather, I am aware of incidences, where 18-year old models have participated in a nude, or topless shoot without fully realising the implications. One was trying to reclaim and ultimately regain control of these intimate images.

Whether she had been unduly influenced, by a photographer, or had done so of her own volition was unclear. Unfortunately, she had signed a model release form, permitting the photographer to use such images, for his own and broader, commercial purposes.

I have also been approached by parents, managing their teenage daughter’s modelling schedules, wanting me to work with them. I always decline, since their communications suggest my personal and professional boundaries are likely to be pushed, or disrespected. My son is almost 16. Would I want him modelling at this age? No.   

That said; my emphasis upon thorough pre-shoot screening and communication means sometimes, I will “Take a view”. Some people in their late teens show better judgement and maturity than adults in their 30s. Nonetheless, clothed fashion, portraiture, or lifestyle are my limits.  

Paige MJ is a case in point. Aged 18, she had only been modelling for a matter of weeks and wanted me to shoot her, on location at Flitch Way in Braintree. She was seeking to create something edgy, with a punk flavour. Several messages were exchanged, specification agreed, and rapport established. We arranged to shoot 24 hours later.

Flitch Way is 15 miles of disused railway running from Braintree and Bishop’s Stortford. Flat and well surfaced, the shared access path is popular with cyclists, horse riders and walkers. Its also blessed with a wealth of interesting backdrops, including artist grade graffiti.

Page had already experienced “Level pushing” from one “Photographer” offering way above the odds, for a topless shoot. This didn’t interest her and perturbed by his behaviour, she declined to work with him. Two hours later, we were pleased with the results. I would happily work with her in future.

Krystal also wanted to collaborate with me this week. She’d bought a new gothic black dress and some lingerie. We knew a suitably secluded location, thus unlikely to draw unwanted attention. Comfortable for her and conducive to seamless creativity.

That said; there is a creeping and very tangible sensation of being watched. Both of us have experienced this very acutely. We work fast and have an easy rapport, thus work very quickly together. Sure enough, after twenty minutes, a couple arrived in a car and sat, observing us. 

No approach was made, but we opted for a wardrobe change and an alternative location. While the colours are so vibrant, natural light and climate, kind, I wish to make best use of them.

On The Waterfront...With Aurora Ray

 No, not the iconic film with Marlon Brando. I’m referring to an evening quayside shoot with Aurora Ray, in Ipswich. I responded to a casting call and we corresponded for a few weeks.  Ideas, concepts and possible locations floated and pondered.

Ipswich is approximately an hour or so’s drive from me, but a town I hadn’t visited for almost three decades. Even then, I was only familiar with the Portman Road area, home to the football club and infamously, a red-light district.

Thankfully, Aurora had excellent local knowledge, which complemented her creative vision.

Little surprise that I leaped at the suggestion of Graffiti and disused quayside buildings…Sunset this time of year, is around 18.45, so we arranged to meet an hour beforehand.

Having successfully orbited the town centre systems during rush hour, I was relieved to discover a car park within easy reach of the quayside. We’d agreed to meet by the University, opposite. Chances were, we’d be wrapped up within an hour or so. However, I’ve an aversion to fines, so fed the meter a little more.

This early in the academic year, you could feel a real sense of anticipation and a generally positive atmosphere from the halls of residence. One that certainly resonated with me, some 26 years since I arrived in London’s East End, fresh faced and decidedly green.

There’s always one student who stands out. In this instance, one losing command of his trousers, while exiting his car. Shortly afterward, a text arrived-Aurora saying she was a few minutes away. She materialised carrying a cluster of red helium balloons and extruding enthusiasm.

Camera bag, reflector and energy-boosting bananas grasped, I locked the KA and Aurora led me along the waterside, with its eclectic mix of bars and restaurants. Their neon signage more intense, as the golden hour loomed. Our first location was a long disused and very derelict factory.

Several stories high, ground floor access points had been sealed and the usual warnings emblazomed across the boards.  She switched from her light summer dress and I fired a few tester shots. The alley, though clearly a street drinker’s refuge, was also moderately trafficked and relatively well lit, which was ideal, in every respect.

One man had my senses screaming with alarm. I was concerned he might attempt to snatch one, or both of our bags. Luckily, he quickly lost interest and shuffled through, without further interaction.  

Aurora has a classic model figure and knew her body well, thus created and moved seamlessly between poses, making the very most of available time and light. Checking the area for broken glass and other sharps, she posed on the pallets, which accentuated her poise and willowy figure.

The next street had these corrugated shutters. I was pleasantly surprised by driver cooperation and sensitivity. Many stopping and seemingly alarmed that they’d interrupted us. Not something you’d experience in a major city, or provincial towns for that matter.

A skate park fired our imaginations, but we opted in favour of a towpath, which also had some very striking and genuinely beautifully crafted murals. The sort so revered, they are left unmolested, by taggers and local authority environmental teams alike. 15 minutes later and the golden hour was almost gone but by this point, we had 80 shots. A short but successful evening…

Gena Rose & Graffiti

Gena approached me via a purpleport www.purpleport.com and expressed an interest in organising a shoot. Pre-shoot communications were excellent, and quickly established direction(s) she was looking to take her modelling.

She’d seen some recent shoots with Krystal and wanted to create something along similar lines. She had some locations in mind, including an abandoned police station. Despite genuine potential, further research and closer scrutiny demanded a rethink.

We eventually settled on Southend on Sea and combining beach, with more urban/alternative themes. Time, location and structure agreed, my second-shooter (Spare camera body for location work) decided to expire, without any warning. This was while doing some fetish themed work.

An expensive weekend, given my car had succumbed to a grumbling CV joint. One which had also formed a seemingly permanent union with the driveshaft. Meanting that too, needed replacing.

On Sunday, I switched to my CSC and 30mm prime lens. Great for street photography but not my first choice for photoshoots. Though attitudes are changing, models tend to be sceptical and perceive them as inferior to SLRs. Models, regardless of experience need to feel confident in a photographer’s abilities.

I was familiar with the area and had taken a drive down during the August bank holiday. Primarily to do some street photography, with a quick bit of location scouting for good measure.

Having met up, we weaved through the side streets, where it was theoretically quieter and warmed up with some headshots/portraits. In common with many town centres, street homelessness is widespread and very apparent.

Affording people dignity and respect goes a long way to averting potentially awkward/dangerous situations. However, hunger, substance misuse and poor mental health can prove a volatile mix.  

We attracted the attentions of passers-by but most people were extremely considerate. Nonetheless, although all publicity is good…We didn’t want an audience and after twenty minutes, headed to the beach.

With the tide long gone and unlikely to return for seven hours, we were forced to abandon our concept of her emerging from the water. Holiday season done, we made good use of an essentially empty beach. Gena stands 5’2 and I often shoot shorter models, while lying down, which suggests they are much taller.   

Ninety minutes in, reserves were flagging, which is not great for creativity. So, we found a suitably clean café’. Conversation flowed easily as we refuelled, relaxed and reviewed the .

Bill settled, we headed out to Westcliff-roughly a mile away, stopping at various points to shoot. This beautifully restored VW fired our imaginations, particularly Gena’s (She’d studied car mechanics).

Wanting to avoid introspection and potential confrontation, we sauntered along the side streets and to some distressed warehouse doors. The dilapidated remains of a car dealership were our last backdrop of the day but won’t be our last collaboration...

Quarries & Cranes-the Perils and Pleasures of Location Shooting

Location shoots generally speaking; require forward planning, especially since there’s much greater potential for things to go wrong. Krystal and I had been planning a pier-side carousel theme. However, we are still seeking written permission from some local venues.

From the traders’ perspective, the last thing they want is a model and photographer leaping aboard their rides. Unannounced, and putting a dent in their day’s trading. No more than we’d appreciate being photo-bombed by a mob of bored teenagers.

So, having pressed the lateral thought button, I researched derelict sites within 5 miles of Clacton on Sea. Within 20 minutes, I'd honed-in on an old quarry, disused since 1997.

Access appeared easy and, save for those teens, chances are we would be left to our own devices.

However, quarries and other industrial sites are potentially lethal potentially lethal. Risk assessments and a highly attune hazard perception are crucial. We weren’t going to be climbing any structures, nor shooting in water. 

Nonetheless, signage warning of quick sand, hazardous chemicals and equipment need respecting. 

Upon our arrival, it was full of construction traffic…

Yep, redevelopment was well underway and therefore, access an absolute non-starter.  No matter how good a case I could present, I had no legitimate business here and no site foreman, in their right mind would grant us access/turn a blind eye. 

Model and photographer safety as I’ve said elsewhere, is paramount.  blatant trespass is asking for trouble.

Slightly dejected, we wandered through the nature reserve, back to my car. I had jotted down a few other, potential backdrops. The second was also being renovated-another none starter.

Ever wondered how something pops up, when you’re not actively pursuing it? Well, we happened upon a boat yard and a very helpful man, who said we could shoot wherever we liked, provided we respected others privacy. 

Not difficult frankly, at least for those, with a modicum of emotional intelligence. So, a few boating wrecks later and we settled on this long disused crane as a centre-piece. Lovers of peely paint porn, rejoice.

What Makes a Model?

There is an argument that within the post-modern, virtual world that we can be anything, or indeed, anyone we want to be.

Traditionally, female editorial/fashion models should be 5’9 to 6ft tall, with a 33-inch bust 23-inch waist and 33-inch hips. This is not the only criterion, agencies tend to recruit on a more rounded basis and the modelling industry has much broader horizons.

Similarly, while there is still a baseline, entry level price point, camera equipment has become increasingly affordable. A base line SLR and kit lens bundle can be had for £399-new, cheaper second hand.

On the one hand, this is extremely empowering and allows people to participate and develop their photography. For whatever purpose. On the other, it invites a certain element. One who seeks to use a camera as a means of gaining access to (usually young women) with darker motivations.

True, though thankfully rare, I’ve met some very technically able photographers, whose moral compass is somewhere in the foundries of hell. However, the Guy with Camera (GWC) is more easily spotted. Typically, they can be sussed out in their approach and communication/lack thereof.

They may carry a “professional looking” camera but have no port-folio/website, or one cultivated from stolen images-the right click n’ save manoeuvre. Chances are, at some point, in a model’s career, regardless whether internationally published, aspiring, or hobbyist, they will encounter one.

Before we go any further, the GWC must never be confused with an enthusiast amateur, or hobbyist photographer. These tend to enthuse about their equipment, images and enjoy working with models from a creative perspective.

Now, I have different cameras for different contexts. SLRs being the most obvious choices for location work. I run Sony’s older Alpha (Minolta) since its what I’m most familiar with, and lenses are in plentiful, inexpensive supply.

I also use mirrorless Compact System Cameras (CSC) with APSC sensors, for street photography and similar situations where the larger camera would attract unfavourable attention. Given most models are expecting SLR, I tend to introduce the smaller camera much later. Most are very impressed with the results, too.    

  

I am always shocked but not ultimately, not surprised by the stories models tell me, of inappropriate “photographer” behaviour through the course of our shoots. Common incidents include pushing levels e.g. trying to cajole a model into doing nude/topless work when lingerie is their stop-point. Sadly there are also those who touch, grope, or otherwise intimidate.

Pre-Shoot Communications

A while back, I was discussing this topic with a Vegas based model (who also has a fantastic Urbex You tube channel)  https://www.youtube.com/watch?v=xVKmu1SCKzo  Red flags for her, include a photographer who cannot construct an articulate and detailed paragraph regarding their approach, the nature and duration of the shoot.  

I also work along very similar lines, since a photographer is potentially vulnerable. References are a good indicator, but I am also guided by discussion and gut. 

Two of my first questions are (a) what attracted them to me in particular (b) What direction they were looking to take their modelling/port-folio. My sole objective is to create the standard and type of images, the client is looking for. However, it also gives much wider insight, into their motivations, character and ultimately, ensures both parties know exactly what to expect.  

This keeps things fluid and comfortable, on the day. If our creative approaches are wildly different, or otherwise incompatible, I will politely decline. I’ve done so, on several occasions and this policy has served me well.

Sure, we all start somewhere, but a series of selfies, gives little indication of potential, or aptitude. If you are starting out, as a model and with serious intent, decide upon your genre(s)/levels. Then find a photographer, one you feel comfortable with, and invest in a paid shoot.

Case Study: Carla

Now, before I became preoccupied with a more cautionary, some would say, darker note. I was talking about models coming from all walks of life. Carla stands 4ft 10 and is agency signed, with two years’ experience.

She approached me wanting to expand her port-folio. Contradiction in terms perhaps but she openly describes herself as shy. Hence, I was particularly keen to establish a good and extended rapport beforehand. With a relaxed but conscientious approach, the two hours flowed nicely, and we were pleased with the results. She’s someone I would happily work/collaborate with in future.

       

All Welcome in The House of God…

Except possibly, the photographer…Yes, I can recount stories of wedding photographers, arriving at the church, only to find themselves barred surly clergy.

During our last shoot, Krystal expressed an interest in a gothic church/graveyard theme. I knew just the place. However, research, planning and forward preparation are crucial to success.

So, as you should, when purchasing residential property, I took a few trips at various times, assessing whether we were likely to attract the wrong sort of attention. Discretion is the better part of valour-conflict with and distress to, others are ideally, avoided. 

Location sussed and agreed, we arrived at 11am. “They’re Coming to Get You Barbara” we mused, referring to the classic line from George A Romero’s “Night of The Living Dead” 

Regardless of time/season, this location is very eerie.There’s a very real sense of being watched. While evaluating the best place for Krystal to change, a young, modestly dressed woman materialised. She appeared to be engaged, on her phone but intuition told us, she was observing and moreover, taking snapshots of us.

I looked her in the eye, acknowledging her with a nod. She smiled, and a few moments later, Krystal emerged from the trees. From that point on, we were left to our own devices, although that sensation of being watched never relented. As I’ve said in previous entries, public shoots are double edged swords.

On the one hand, completely transparent. There’s no suggestion of theft/criminal damage. Conversely, it can attract the wrong sort of attention. Krystal and I have worked together many times. An easy rapport certainly helps. Within 30minutes, we’d got the results we’d hoped for and moved on, to other locations. Next on her shoot list is a fairground/carousel theme.

Helen…St Botolphs & Beyond.

Helen approached me via mad cow models madcowmodels.co.uk, wanting to do a location shoot around Colchester, Essex.  Exploring people’s motivations and ultimately, their specification is imperative before I will book anything in, let alone lift a camera.

What brought them to modelling? What are they seeking to achieve in a session? and moreover, what drew them to me/ my work, specifically?

The more prosaic and articulate, the better, so far as I’m concerned. All discussions are documented via portfolio hosting sites, or emails. This avoids any miscommunication, or ambiguity.   I also like to build decent pre-shoot rapport, helps on the day.

Part of this is technical/practical. What equipment is required, will I need to factor studio costs into the equation? If its location based, are there public toilets/other facilities for comfort stops, discrete outfit changes, hair and makeup retouching/styling.

In terms of timescale, most of my shoots are 2-3 hours. 90 minutes and 2 hours of actual shooting, respectively. The remainder is for relaxed outfit changes, and some downtime.

With all this in mind, Helen was relatively coy, some models are, in writing. However, her references were consistent and favourable. So, I summarised the shoot itinerary, she agreed, and everything aligned on Wednesday morning.

Street homelessness/rough sleeping is extremely obvious in Colchester now, although the old priory ruins/St Botolphs area had always been popular with street drinkers and drug users. Since the priory ruins were our first location, speed and heightened awareness were imperative.

Helen changed to something more casual and we headed to the derelict Odeon cinema. Ordinarily, the curious public can be a serious hindrance (although this is usually tempered by good people skills). Thankfully, a row of businesses and frequent footfall worked in our favour.

Somewhat predictably, it wasn’t long before we encountered some heavily inebriated and unpredictable street drinkers. Helen handled it well. The gentleman pictured was thankfully, very good humoured, once I’d indulged him.

On some levels, I also find humour in the image, so will add it to my street photography port-folio. In these instances, there is an argument for using a higher end CSC, rather than an SLR, since it attracts less attention.

Castle Park provided more salubrious backdrop, with plenty of people milling about but no further interruptions. 90 minutes into the two-hour slot, Helen needed to be heading to Stratford, for another shoot. I chose a disused bus garage, literally three-minutes walking distance from the station. She moved seamlessly between poses, there were no interruptions-done in ten minutes. Having seen her to the station, I sensed the area’s temper was changing, so weaved through the side streets and to my car.