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.  

Delight in Decay Some Shoots with Krystal J

Models and derelict buildings are a contrast I have always enjoyed. I moved to London’s East End in 1992. A time, when the landscape was littered with derelict factories, warehouses and indeed, domestic dwellings. Long gone now.

I discovered a mutual love of the derelict (and indeed, the area’s more characterful pubs) during some earlier studio and location shoots, with Krystal.  While out, on other missions I noted several locations in the Harwich area. We agreed they’d be particularly good settings for a PVC/latex themed shoot.

Being well versed in the legalities and related considerations, both parties knew we needed to work quickly. All three locations were quite exposed, which has some very definite pros and cons. 

First and foremost, it's pretty obvious what you are doing.  Suggestions of theft, vandalism, breaking and entering/similar wrongdoing can be ruled out.

The derelict petrol station forecourt being a prime example. Several police patrol cars and a steady stream of rubbernecking office workers passed us. Most slowed, out of curiosity-including the Police. However, no-one stopped, or interfered.

Conversely, some seclusion is required, for discreet changing/model modesty. Rapport between model and photographer also must be “on point”; So, the desired images can flow seamlessly. Depending upon the location, there are other, environmental factors to bear in mind.

Abandoned properties can have their share of danger. Nails, needles, asbestos and unofficial residents, metal thieves- being but a few. Oh, and if you are asked to leave, smile a lot and comply. The law of trespass is difficult to enforce. Criminal damage tends to be the default avenue.

Krystal brought three dresses and we spent around 30 minutes, at each of these locations.       

While out on a ride, I noted a farm house had been recently boarded up, with no sign of activity, during subsequent fly-pasts. Krystal was keen to model a vintage tea dress, so this seemed a surreal, although thought provoking backdrop.

Arriving on the day, there were signs that the property and grounds are still very much in use. A row of older cars and agricultural equipment lay equally dormant. No sign of other life, or mercifully, any bull.  

We only wanted to use the immediate frontage and exterior farm buildings. Not least, since the sun was very intense. I slipped the f stop to 1.8 and the shutter speed to around the 4000/5000 mark. 

I seldom stray away from full manual control.However, in those contexts where you need to move quickly, or lighting is very changeable. There is an argument, for selecting aperture priority and letting the camera decide the others.  

We moved to another location, for a quick retro phone box shoot. Then Krystal spotted a retro garage forecourt. I approached the garage owners, who were only too delighted to indulge us.  The copyright for these images, belongs to Stenning Photographic (Michael Stenning). However, prints may be purchased from my site. https://michael-stenning.format.com/#1