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.  

Tasha: Playful in the Park

Following a relatively quiet, yet still productive Christmas and New Year period, I was keen to get out and shoot some models. Tasha had approached me, wanting to expand her fashion and portraiture portfolio. I like location shooting and Tasha was keen to shoot at Hylands Park, in Chelmsford. This made sense logistically, since she was only a few minutes away, and I an hour’s drive, along the A12.

Wardrobe changes are more easily executed on location, than sometimes thought. Disused buildings and substantial hedges being two common options. Well serviced toilets/similar facilities are ideal, especially when the temperature is firmly in single figures.

We were a sizeable distance from these. Thankfully, generous trees offered the required privacy. People traffic was modest and crucially, very respectful too, which is always nice!  

As I’ve said in other entries, modelling is far less prescriptive than it once was. However, the requirements for runway and editorial, remain broadly unchanged. Tasha stands 5ft (1m 52cm), which presented me a wealth of options in terms of posing and angles.  

For example, I took these frames of her, sitting on the tree stump, laying on my side. 50mm prime F1.8. Others, inside the hut, were taken using my little Samsung NX3000 and 30mm f2 prime lens.

Our two-hour shot flew past, and I’ll happily work with her in future.

Enchanted Forests & Freezing Promenades

Despite the wind chill dragging the air temperature down to 2 degrees, Krystal approached me in the context of a forest shoot. I wasn’t expecting her to model a line of lingerie (!) but she posed effortlessly and without complaint. Though these conditions ran the cold gauntlet, they greatly reduced the probability of encountering (not to mention, offending) dog walkers and other passers-by.

We shot about 20 frames, in twenty minutes before deciding it was time to move on. I had intended to bring a large blanket with me, so Krystal could (a) Remain warm (b) Preserve her modesty, in the event of someone showing up.

However, she’d already brought a sizeable winter coat, leggings and dealer boots. Garments that could be quickly donned/dispensed with, as need arose.

We concluded the forest looked uniformly bland, given the time of year. Krystal took this opportunity, to change into her second outfit. I’d spotted some agricultural equipment, along an adjacent farm track, so we employed these, as our second backdrop.

I had also noticed a partially cannibalised Land Rover…Being as it was languishing on private property, I was not prepared to pitch up and start shooting. Professionalism aside, trespass is one of those things, which can take a darker turn.

Though signage may say “Trespassers will be prosecuted”; chances are, not for the crime of trespass, rather the more serious charge of criminal damage. I attempted to contact the landowner, but no-one was home, so we shot a few final frames, against these logs.

Three days later, KA with fresh MOT certificate, I was gifted some unexpectedly free time. Bracing coastal winds meant plucking my cowhide pilots’ jacket, gloves and thermal skull cap from hibernation. I headed out to Walton on the Naze and Revved up Tea Hut. Warm welcome, good ambience and a new range, of cold beating beanies and hoodies…If you were stuck for stocking fillers.  

Lipstick, Powder & Paint...Collaborating with Ellie Thurgood MUA

There’s no shortage of people, claiming to be makeup artists. Unemployed talent show hopefuls, dripping in disastrously ill matched foundation, being cases in point.

Qualified makeup artists (the sort delivering commercially credible results) are highly trained and skilled.

I was approached by Ellie Thurgood https://purpleport.com/portfolio/elliethurgoodmua/ , a part time MUA, who’d attained her NVQ level 2 funded by, and alongside another role. Ellie was talking in terms of moody portraiture. Despite a lack of references, she communicated her ideas coherently, came across as focused, reliable and professional. Gut instinct paid off.

With light and climate becoming unreliable, we agreed on an indoor location. I left model selection in Ellie’s court. She’d know the attributes required and I didn’t want the shoot scuppered by an unknown (and potentially unreliable) candidate.

I headed to the East Midlands, on another mission. Ellie quickly recruited Jerri Eliza https://purpleport.com/portfolio/jerrieliza/  Location, timing and suggestions flowed between us, via networking sites and other, digital platforms. Ellie was bringing her portable ring light, I opted to keep things simple. Flashguns, Sony Alpha SLR, Samsung NX CSC, batteries, portable LED “wand” and reflector.

Oh, and of course, sustenance for all parties. Miserable models, or (more likely) surly photographer could prove a real creativity killer during a four-hour shoot. We’d all agreed Monday evening-7pm.

I arrived on set at 6.45, Ellie 5 minutes later. Jerri was already there. Real world introductions done, we unpacked and set up. I’d gone for a 50mm 1.8 prime, set the flashgun and fired a few shots, then tweaked the settings to suit.

With a relaxed, yet purposeful mood, talk turned to our backgrounds. Something of a sociable loner (contradiction in terms, anyone) I am fascinated by people, which probably explains my transition to social photography.

Jerri happened to mention her family were of Irish origin, which explained her very pale “Celtic” complexion (although they had been in London’s East End for several generations).

She’s grown up in Newham (Custom House and later, East Ham). I’d lived in the central park area of E6. A stable and relatively, safe district 20 odd years back. However, inner city districts are always transitioning to some extent and once the creatives enter, developers aren’t far behind…

On best behaviour, I managed to subdue any urges to lament the area’s loss of derelict buildings/backdrops. She’d also worked in animal welfare, with an impressive understanding of dog breeds and their foibles.

My lighting calculations were accurate. Alternating between silver and bronze reflectors also achieved some positive contrasts. I have a resistance (rather than aversion) to golden hues but it appeared complimentary to Jerri’s tones and hair colour.        

Two striking looks (and variations) and good rapport saw time literally evaporate- We said our goodbyes, and I headed home to begin post-processing.

Don’t Take Our Decay Away

There’s a lot to say for studio shooting, when the mercury slides into single figures. However, Krystal and I weren’t deterred by November’s chill, so went in search of something quite dramatic.

Beacon Hill Fort has been a fort since Tudor times. It was subsequently upgraded to meet the needs of both World Wars. The fort was finally decommissioned I 1956, and had been steadily reclaimed by Mother Nature, Graffiti artists and transient visitors, in the decades since.

It has been purchased by Barry Sharp and Paul Valentine. Not for redevelopment, but rather restoration. The roads, buildings and structures are being cleared of 20^th/21^st century rubbish. Anything that remained at decommission, will be retained. Trees, ivy and other foliage damaging the structures, is being removed and any unsafe areas fenced off.

The vision is to reconnect services, electricity and telephones to appropriate buildings, restoring them to their decommissioned state. Their intention is that Beacon hill will be re-opened and managed, for the benefit of the local community.

Serendipity is a recurrent theme of my location shoots…Having found the site, we began shooting at outbuildings and sea defences, accessible from the roadside. 90 minutes later, we were feeling the cold. Back to the relative comfort of my MK1 KA’s heater and some refreshment.  

Ten minutes hence, curiosity got the better of us. So, we walked to the main gate and I contacted Barry Sharp, on the off-chance we might be permitted access. In principle, he had no problems with my request. He graciously invited us to speak with Paul, who was already on site. 

Within a few minutes. Paul arrived at the gates and graciously invited us inside. We were given a map detailing access points and agreed to the “Own risk” proviso.  My experience in industrial contexts and indeed, previous professions means I risk assess very carefully, and understand the potential dangers presented. Although Krystal was rather perturbed at finding herself stood in a pentagon, while posing in the observation tower’s upper floor!  

By 2.45, light was at a premium. However, we worked quickly and achieved the desired results.

A big "thank you" to Barry and Paul, for being such generous and accommodating hosts.

https://www.beaconhillfort.org.uk/

Reliability & Referencing

Recently I’ve had two zero-notice cancellations and a no-show. The reasons vary. From models citing sudden academic deadlines, to more serious, health issues.

I don’t employ a blanket policy for these situations, since it can often depend on personal circumstances. Sickness doesn’t work to a schedule, the most reliable, properly maintained cars, or indeed childcare can let us down. I’ve been there!

However, unless there are mitigating circumstances (that I have been made aware of), two cancelations, or a no-show and there’s no way back with me. This is particularly acute, in a commercial shoot context, where an experienced, professional model is being paid.

A lot of planning goes into shoots. From the choice of location, appropriate equipment, snacks/drinks to maintain sustenance, pre-empting potential problems and their solutions etc.

I was recently approached by a model, who suddenly went cold, cited a whole heap of pressing engagements. She has subsequently been wanting to shoot. Intuition tells me she’ll cancel again. From my perspective, there are plenty of reliable, committed models to choose from... 

Thankfully, my pre-shoot screening process weeds out most potentially/ unreliable candidates. Being out of pocket and there’s little redress, other than a negative reference, which will only induce another, by retort. 

Another model, seemingly keen to work with me, postponed one week. Fair enough, I hadn’t booked a studio, or got in my car… Being self-employed, there’s always something needing my attention.

The shoot was rearranged-same time, this week. I got in touch, 48hours beforehand (not to mention, the morning of said shoot), checking she was still able to attend.

She confirmed and so I headed out... 

Upon arriving at our agreed meeting point, I received a text advising she was unable to attend, for seemingly genuine reasons. Could we move the shoot to 1pm instead, or move to another day??

I was already irritated but seeing as I was already there (1 hour away from base), agreed to the later slot. Light would still be good, and chances are, the weather would’ve also cheered up a bit.

Ultimately, she didn’t show but I got a real sense of her vulnerability, from talking with her father. Our focus shifted to locating her and ensuring she was safe. Thankfully, she was. I’m a compassionate person, so suggested she inform people of her conditions beforehand, allowing understanding and, informed choice.  

I also suggested she could concentrate on finding the right support, getting stronger before resuming modelling. She has the makings of a very capable model, so it would be a real shame if she bowed out.   

Blocking

To date, I have only blocked one model. She was based in Bedfordshire, a 90minute drive from me. This coincided with a trip to the Midlands, so theoretically, a great fit. After some formative discussions, she went cold. She refused to disclose the venue’s address, or supply her phone number, 24hrs before the scheduled shoot. I blocked her in preference to leaving a bad reference.

A Cambridgeshire-based model also approached this week...Then I noted 4 no-shows, out of 7 shoots. Not worth the risk. Let alone fuel, time and hassle.   

Models (and indeed, photographers) can “Ghost” (fall silent on a project). However, so much easier to act professionally. Say you’ve had a change of heart; or if arrangements have been made, give notice. Ideally at least 72hours.

The Flip Side

By the same token, I know of models who have been approached by photographers, seeking to shoot fashion, when their port-folio consists exclusively of erotic/adult images. 

Having gone through a phase of shooting fine art nudes, I can appreciate its easy to get typecast.

I’m happy (With the right models and appropriate safeguards in place) shooting this style. Nonetheless,  there are several other genres I’d prefer to be associated with.

The model in one instance, asked the photographer to detail the shoot specification, 48hours beforehand, or she would not attend. A request he declined. She refused to attend and subsequently received a negative “no-show” reference.

Double Trouble?

Duo shoots are something I do infrequently. Much boils down to disinterest in the projects, and specification presented to me. I’m not talking about couple portraiture, which I find candid and endearing. Rather, cheap pseudo erotica, with little artistic, or commercial value. 

However, Krystal and Gena approached me, thus exception made.  

Being completely candid, I was going on trust and established rapport between the three of us, rather than the brief per se. Besides, while boundaries are important, there’s the need to challenge ourselves and indeed, our perceptions.

KA header tank being replaced, I commandeered an elderly but extremely well-maintained Nissan. Timely too, since Gena had ordered a canvas from me https://michael-stenning.format.com/store . Dimensions (100x100cm) that my otherwise Tardis-like KA couldn’t host. Upon arrival, it transpired Krystal had succumbed to a burst water pipe, hence soggy carpet and curious plumber. Undeterred, we began setting up and deliberated about backdrops.

Both models are strikingly different in terms of skin tone, hence it was imperative we chose a complementary colour. White, or grey was too tame, and I suspected would leave Krystal looking washed out. Confirmed during a few test shots. 

Warm pink was perfect.

The shoot commenced with Lingerie, with leads and soft domination theme running through. Then of course, some PVC and a smattering of solo shots, primarily for Gena’s port-folio.

Contrasting colours, sizes and heights proved a reciprocal mix and frame to frame, the energy was positive and fun. I opted for a combination of 50mm 1.8 prime lens, Godox flashgun and natural light, streaming in from two large windows.

Several outfit changes and three hours later, our shoot concluded. I transferred the canvas to Gena’s car, then headed home, to commence post-production work.

Deadlines allowing and assuming it’s a daytime session, I aim to get a selection of retouched images to model(s), that evening. This also applies, for commercial and domestic customers.

Continuing the duo theme, I also shot this couple shortly afterward, at Juice Photography Studio https://www.facebook.com/Juice-Photographic-Studio-1736661156638282/  One I’ve used on several occasions, this year.

Spacious and well-equipped, Simon and Brian are equally welcoming, and straightforward in their approach. Suffice to say I’ll continue to put business their way, and have no hesitation, recommending them to other photographers/models/MUAs/ similar creatives.