Guided by Godiva

No, Krystal did not disrobe, hop aboard this highly charismatic horse, and canter around Coventry (We were a good 125 miles away, for starters). However, they met at the close of our shoot and formed a very photogenic bond. I’ve worked with Krystal on many occasions, since 2018 and we have a shared fondness/fascination for derelict buildings/similar locations.  

She’d been in touch, wanting to shoot with a new dress and some accessories. I had been let down by another model (although ending a relationship with a coercive and controlling partner are suitably mitigating circumstances, in my book. All too common, too). Locations discussed and agreed, we wandered around, finding suitably backdrops collectively and at random.  

Some have suggested she is my muse. No, in short. We gel well professionally, but the muse construct is something that belongs in a very different era. Shooting aside, we do spend a decent amount of time discussing the business and indeed, experiences with certain parties.  

All captured using my trusty Sony A6000 body and Viltrox prime lenses.

Sophia

Sophia approached me wanting to update her portfolio, to reflect her new, much shorter hair and to experiment a little. I’d worked with her previously, in 2018 so was pleasantly surprised she remembered me. We decided to shoot down by the Orwell Bridge and thankfully, the weather and lighting were conducive to this. Images were taken using Sony A6000, A6400, Viltrox 50mm 1.8 and 1.4mm prime lenses.  

Back to the Boatyard. Work, Rest & Play with Krystal J

 I received a “Coming out to play” invite from Krystal. She hadn’t a location in mind, so I suggested the Pin Mill Boat Graveyard. She was very excited by the slightly eerie vibe. We share a mutual fascination for derelict and abandoned places and this wavelength certainly helps cement the creative harmony. Krystal is an experienced model. She started with bridal and transitioned toward the “alternative” genre via custom motorcycle publications, including Back Street Heroes.  

I’d prepared for most eventualities- towels, bucket, solvent cleaner, snacks, change of clothes, waterproof hiking boots and first aid kit. However, we were able to shoot uninterrupted, save for the odd friendly greeting from dog walkers negotiating the wooded trail above. An elderly couple were also capturing the wrecks with their SLRs, so we kept a respectful distance.  

 

I was earlier than originally planned and traffic was light, so the tide was also in our favour. The final set was taken as the tide was racing in, but we had a good 90 minutes prior to that. All were shot using my Sony A6000 and A6300 bodies with Viltrox 23mm 1.4 and Viltrox 33mm 1.4 prime lenses.   

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...  

A Laid Back Shoot with Lynn

 Lynn approached me in the context of a fetish-themed shoot. I fancied something a little different, so after some back n’ forth regarding ideas, styles and ultimately, dates, we shot in natural light, from her remote home. As with many models, returning to the profession, she had some astonishing, sometimes hilarious and occasionally terrifying stories.  

Ayla

 

I’d been wanting to work with Ayla for some time but opportunity, not to mention the pandemic had frustrated this.  A chance conversation in October led to us working through a shoot plan, and ultimately shooting at her home.  

Good pre-shoot communications are paramount, but rapport and trust between photographer and model usually take time to develop. For this reason and regardless of experience, I prefer models to set the pace. 

We warmed up with some flirty fashion, slowly progressing through lingerie, boudoir and art nude. I also brought some props and Ayla unleashed her creativity. Conversation flowed naturally and the two hours proved incredibly productive.  

Most of this set was taken using natural light, Viltrox 23mm 1.4 prime lens and Sony A6000 body, although I used a 50mm 1.8 counterpart and Sony A7.   

* All images copyright Stenning photographic *

Emma

 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 modeling industry has much broader horizons. 

I am genuinely curious when photographing people, eager to explore their ideas, lives, experiences, and backstories. Every person is unique not only in their thoughts and beliefs but in the way they move.  

Professional/established models aside, I tend to spend a good deal of the shoot just talking with the model, capturing them naturally and unaware. My shoot with Emma is a prime example of this.  

She and I discussed a two-hour boudoir/lingerie theme. I was keen to use natural light for a soft, reflective effect. Thankfully there was an abundance on the day and the majority of these were taken with my Sony A6000 and 35mm f1.4 prime. Posing the model according to their shape and size is paramount. The difference between boudoir and a straight lingerie shoot is, in my view the focus. It's more about mood and the sensual effect, rather than objectifying the model, which glamour does.  

Emma has a G cup bust, so I opted to have her sitting upright kneeling, or laying at an angle to flatter her curves. Poses that would flatter someone with an A, or B cup would be deeply unflattering, possibly demeaning to someone with a bigger bust  

Continuing the soft, reflective narrative, I encouraged her to look toward the light, slightly away from the lens. The smiles you see were not coaxed, rather spontaneous, as rapport and conversation flowed.