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.

Michelle

I was tempted to call this entry “The Tale of The Irish Italian Glamour Model, The Shetland Pony, the Potcheen and The Welsh Nationalists". However, I’d be accused of sensationalism, and I dare say, much worse…

Michelle is a former Page3 model, of Irish and Italian heritage. She also has a Shetland Pony and a general love of equines. I’ve given up shooting novice models, specifically those under 30, due to reliability and their insistence upon doing TF shoots.

I was approached by a male model “admiring” my work. Having confirmed I will happily work with both genders, he felt I should… Drive to London, book and pay for a studio, shoot him and provide him with images. All at cost to me. Polite email reply, thanking him for his interest and my quote.  

Michelle shares my contempt for this generally, no-win, one-sided futility. She blocks any photographer/studio/publication inviting her to do anything TFP. Little surprise to discover we got along, pre shoot and gelled well, during.

Glamour is a genre that can mean many things. However, it most frequently conjures up visions of topless women, tabloid newspapers and “Lads Mags”. Not really my remit, unless of course we’re taking an ironic, tongue-in-cheek stance.  We decided upon a mix of implied, topless, lingerie, with some fine art thrown in for good measure.

In contrast to “Glamour” I’m quite fond of fine-art and implied, because of their subtle, suggestive tones. At one point, I was shooting these regularly. On the plus side, a sign models felt comfortable with me. However, not a genre I wanted to be typecast by. I am also very selective about who I will shoot nudes with.

Yes, it might be legal to shoot nudes with an 18-year old aspiring/model, but I’ve always declined. There are a lot of things, which are legal but could lead to regret. I recall an 18-year old model, who took the nude route (with another photographer), then regretted her decision immediately afterward.

She was trying to reclaim the images, and even claim she was legally a child. No. There were lots of things I (and friends) did at this age, which were perfectly legal, but not the best moves.

If a model understands the potential consequences, and has been modelling a few years, I might shoot topless/tasteful nudes with them-at 21. However, I’m more comfortable when they’re closer to 24/25.

I always ask a model to bring along a selection of lingerie and other clothing, to make the shoot more interesting. I shot Michelle at a lovely cottage location. I used a mixture of natural daylight and portable LED lighting.  

One half of the property was blessed with masses of natural light, yet still providing ample seclusion. The other featured period beams and was much darker. Hence, I went for an intimate “warm glow”. In some respects, and on paper, an f/1.4 lens would’ve been better here. However, my 50mm f/1.8 and portable “Light sabre” delivered the desired results. 

We shot for two hours, with time for clothing changes and comfort stops. I was also aware of Michelle’s underlying condition, which can leave her feeling uncomfortably tired. Not one obvious during our session, but three hours straight, is pretty much her limit. Mine too, frankly. I have undertaken longer commissions but there’s been a 45minute food and rest break between. Suffice to say, I’d happily work with Michelle on future commissions.

             

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.