Emmy

Basildon based Emmy, had expressed an interest in working with me, a few months back. She cited variety and quality, as the main attraction. Crucially, she was able to deliver a coherent paragraph, discussing ideas, shoot plans and desired locations. 

We had originally explored industrial backdrops, but she was keen to move towards more mainstream, fashion and portraiture. She had modelled during her late teens and enjoyed it. However, a very different career path and family followed. A familiar narrative and for me, a good indicator of genuine commitment.

There has been a rise of what I call “Insta models” (as distinct from pros, or serious hobbyists, with social media presence) who are essentially expecting instant fame and recognition. A complete waste of my time and other resources.

Many have asked me to work for “Exposure” i.e. free, citing the number of followers. There are exceptions to every rule. However, how frequently do you scrutinise film, or TV credits?  Nobody is looking at, or cares about the photographer, so “exposure” is a moot point.

TFP (Time for print) is where model and photographer collaborate, on a project. There may be a commercial end, say selling on the images and splitting profits accordingly. Something I will do, with selected models, at my discretion.

Otherwise, I respond, thanking them for reaching out, and with a scale of charges. The real risk, though particularly with the “Insta” model, is late, zero notice cancellations, or no-show.

In these instances, you are running at a considerable loss-all round. Time in preparation, hours that could otherwise be billed for, transport and other, on costs. At a conservative estimate, we’re talking £250 down the drain.    

I strongly suggest that an inexperienced photographer pay a model and vice versa to build their port-folios. This is an investment and rewards with vastly superior results-for both parties. Simple.

So, having cured my Sony and Samsung’s autofocusing gremlins, we worked around a local park and woodland area. Being term time, people traffic and interruptions were minimal.

High and blustery winds were another contributing factor. However, these kept rain at bay. They also added motion to Emmy’s long brown hair, and in my opinion, a more intense flavour. 

Editorial Exposure

Following a fortnight’s unreliable, unprofessional, timewasting “models”, I was delighted to find a message from Efi. She wanted to shoot an editorial theme, in central London.

I don’t shoot much editorial, nor do I visit the capital much these days. However, I knew she’d show, on time, fully prepared and full of enthusiasm. We met at St Paul’s Station, and these steps proved an ideal starting point.

The public can pose a real challenge. Thankfully, even in London, most people have proven discrete and respectful. Nonetheless, the sheer volume can frustrate. I took a series of frames laying on my side, timing shutter presses exactly.

Waiting for them to leave the frame completely was futile. I had no desire to spend extended periods removing them, in post-production, either.

Efi has a very clear idea of what she wants to achieve, which is extremely helpful. This is matched only by her work ethic. We went through three outfit changes and walked at least five miles.

Aside from stopping every few frames to assess progress, poses and styles, we worked for four hours. Light was fading fast, towards the end, my little Samsung NX3000’s F2 lens was struggling to keep pace. Ideally, I like to keep the ISO at 100, for optimal quality. I didn’t want to be encumbered by a tripod either.   

Predictably, the Sony’s 1.8 fared much better. I’d like to add a 50mm 1.4, to my ensemble, at the right price. Ordinarily, my location shoots are done by 1530-1400 during December.

Studios are less prescriptive, set up for f8 (f7.1, sometimes 5.6) and 1/125. Well within the scope of most kit lenses. However, where appropriate, I enjoy the variety and challenge of location work.

David Bailey once remarked that “Cameras have attitudes”; Context is crucial, and it seems he is referring to the attitudes they invoke. Those expressed by the photographer and those, being captured by them.

I’m inclined to suggest this also applies to camera attitudes/personalities. Both the Samsung and Sony developed an annoying, intermittent focusing fault. One which has never struck before, and has (famous last words) been exorcised…

Model Meltdowns

I’ve had two no-shows this week, and a couple of no-notice postponements this month. Frustrating on the one hand, these have also prompted a more robust approach to bookings and fees.

However, I’ve discussed this in previous entries. This week, I’m going to talk about another recurrent theme. Anxiety, especially amongst younger models. I’ve had two no-shows, which were apparently attributable to chronic anxiety.

I must also stress, these are in no way attributable to my conduct/behaviour. Good reputations take considerable time and effort to cultivate, and I’m proud of mine.

The most recent incident involved a relatively new model, who had worked with me on three separate occasions, last year. She seemed very grounded and emotionally mature, beyond her years. 

Most models I’ve worked with, become repeat customers.

There are models (and indeed studios/photographers) I have shot with, once and not since. Sometimes its just down to different schedules. However, there are several who I would not work with again. Full stop.

There are others, who would need to pay me, in full, up front. 

I am compassionate. Sickness doesn’t work to a schedule. The most reliable, and well-maintained cars, or childcare, can let us down. I know these things only too well, having experienced them first hand.

I work with models, who are also parents and recognise, that from time to time, shoots get cancelled at very short notice. We know how the other party works, so not overly problematic, in the general scheme of things.   

I have noticed a pronounced spike in anxiety related cancellations and no-shows among models in their early twenties. Anecdotally, there is quite a bit of evidence suggesting people per se, are becoming more anxious. Social media and pressures stemming from it, often cited as the root causes.

My first experience of a model suffering from undisclosed chronic anxiety, came in November. She approached me, we arranged a location shoot. Upon arrival that morning, I received a text, advising she’d had a serious panic attack. Could we postpone for a couple of hours?

Given I’d been caught in a torrential downpour, and was already 40 miles from home, it seemed a sensible move. I took this opportunity to drop in on some friends, close by. Realising it was almost time to meet, I rang the model’s number. To my surprise, her father answered and seemed slightly concerned.

Long story short, his daughter did not show. However, as time wore on, I kept in contact with her father, both of us extremely concerned for her welfare. On a slightly selfish note, I was also uneasy, given I was the last person she was due to be meeting. What if her disappearance took a sinister turn?

I finally headed home, after six hours, advising her father of my movements. Ultimately, she was found in an extremely fragile state, at her mother’s house. Her father was profusely apologetic about the situation. 

I was extremely relieved she had been found, safe. However, I suggested she should seek professional help, before resuming modelling.  I notice she has, but I would not consider shooting with her, unless I was paid up front, and in full.

The other model (who worked with me last year) contacted me by text, in the first week of January. Apparently she’d lost her modelling mojo and wanted to start again, with me.

We floated a few ideas around, settling on a pool/swimwear shoot. Date agreed, I received a text at 230am, last Thursday morning, saying she had only just returned home, due to a chronically delayed train. Therefore, could we defer until the following (this) week. 

I agreed but left things firmly in her court.  I received a text confirming she’d rearranged for this coming Wednesday, same location, same time.

I acknowledged and said I’d meet her there. No replies to my texts, the evening before should’ve been a red flag. However, she’d been reliable in the past. We were due to meet and shoot at 8am, for an hour.

Icy roads, coupled with the belief that I’d rather be 30minutes early, than two minutes late, meant I headed out at 645. Arrived, and parked with those thirty minutes to spare…

Fifteen minutes passed, so I sent a pleasant text, just to announce I was parked up and ready. Ten minutes later, five minutes before we were due to shoot, I called. Her phone went straight to answerphone. I left a message, before sending a final text, saying I would wait another ten minutes. Nothing. I left a final text, heading back and wishing her well.

I am compassionate yes, but not a charity. Unless I am compensated financially, for my lost time and there is a good explanation for her non-attendance, I won’t entertain future shoots, with her. The same applies to other models, regardless where they are, in their modelling career.       

Fine Art & Fine Lines

Who do you think you are? David Bailey?

This hackneyed retort, remains a popular one, slung at photographers from “witty” passers-by. Very occasionally in my direction, during location shoots. 

Bailey comes across as shrewd, highly intelligent, complex and challenging.

I could even attempt to imply commonalities. I’ve lived in those East Ham streets, I could also wax lyrical about Newham's once derelict delights...

Doing so, would be like wealthy students dropping h’s and pretending their parents worked on the docks, or at Ford’s body plant. Fooling no-one. (Back in 1992, I witnessed one mockney Trustafarian exiting the saloon bar, via a long-established patron’s fist).  

Pretending to be someone, or indeed something else, invariably results in disappointment. Its also a complete waste of time. I like Bailey’s work, his brusque, thought provoking commentary also resonates with me. I’d also love to chat with him about the derelict buildings and streets. However, I am not Bailey, nor do I have any desire to be a second-rate caricature, a cardboard cut-out. 

A run of unreliable models, has forced me to raise booking fees.

I've a reputation for being warm and professional but not suffering fools gladly. Experience means unreliable, or otherwise resource sapping people are generally spotted within a sentence. Two, tops. It's often what people don’t say, that speaks volumes. 

Not that long ago, I’d simply charge the studio rates for those two hours. Now, I’ve factored time lost, mileage and other on-costs into the equation.

Yes, I might miss an opportunity here and there. However, it also roots out timewasters. Many seasoned models operate on a similar basis, for precisely these reasons.

Returning to my authenticity narrative, I enjoy working with novice models and building their port-folios. However, models without direction (or unable to take such) are a complete waste of energy. Though modelling has become more diverse, professionalism is key. I’m not simply referring to showing up, and on time. Hobbyist models, like hobbyist photographers should not be sneered at. These may not be their professions, but that's not to say their attitude and conduct is anything less. 

Experienced, and consistently successful models look after themselves, physically and mentally. Dancers are cases in point. Their sense of poise, grace and self- knowledge is immediately apparent, and the shoots tend to flow smoothly, with beautiful captures.

Model port-folio hosting and networking sites are fantastic resources.

Not only for aspiring/models, makeup artists but photographers too. However, research people carefully, to avoid time wasting, and other nasty surprises.  Sometimes, dipping our toes in, is the only gauge, of whether we like/feel comfortable with something (or not). 

I am selective with who I will work and associate with. Often this is determined by what they do. For example, there are people who believe they are going to be “discovered” (An innocent enough delusion. One that I passively subscribed to, in my late teens an early 20s).

There is no structure, or indeed variety in their images. The poses and indeed images show little, if any variation. This can be for several reasons, including (a) Insufficient, or poor direction (b) An unimaginative model/photographer pairing, achieving predictable results.

I don’t like readers wives/page 3 genres of glamour photography, but intelligently posed and lit boudoir can be fantastic. Soft and playful on the one hand, sensually engaging (as opposed to stimulating) on the other.

Then of course, there’s the power of suggestion. Some people there’s little separating fine art and pornography. I’d argue they’re two completely different genres. Soft porn, including the “reader’s wives” genres I’ve just referred to, are visceral. Fine art and implied nude, captured correctly provokes thought and intrigue.       

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.