Gena Rose & Graffiti

Gena approached me via a purpleport www.purpleport.com and expressed an interest in organising a shoot. Pre-shoot communications were excellent, and quickly established direction(s) she was looking to take her modelling.

She’d seen some recent shoots with Krystal and wanted to create something along similar lines. She had some locations in mind, including an abandoned police station. Despite genuine potential, further research and closer scrutiny demanded a rethink.

We eventually settled on Southend on Sea and combining beach, with more urban/alternative themes. Time, location and structure agreed, my second-shooter (Spare camera body for location work) decided to expire, without any warning. This was while doing some fetish themed work.

An expensive weekend, given my car had succumbed to a grumbling CV joint. One which had also formed a seemingly permanent union with the driveshaft. Meanting that too, needed replacing.

On Sunday, I switched to my CSC and 30mm prime lens. Great for street photography but not my first choice for photoshoots. Though attitudes are changing, models tend to be sceptical and perceive them as inferior to SLRs. Models, regardless of experience need to feel confident in a photographer’s abilities.

I was familiar with the area and had taken a drive down during the August bank holiday. Primarily to do some street photography, with a quick bit of location scouting for good measure.

Having met up, we weaved through the side streets, where it was theoretically quieter and warmed up with some headshots/portraits. In common with many town centres, street homelessness is widespread and very apparent.

Affording people dignity and respect goes a long way to averting potentially awkward/dangerous situations. However, hunger, substance misuse and poor mental health can prove a volatile mix.  

We attracted the attentions of passers-by but most people were extremely considerate. Nonetheless, although all publicity is good…We didn’t want an audience and after twenty minutes, headed to the beach.

With the tide long gone and unlikely to return for seven hours, we were forced to abandon our concept of her emerging from the water. Holiday season done, we made good use of an essentially empty beach. Gena stands 5’2 and I often shoot shorter models, while lying down, which suggests they are much taller.   

Ninety minutes in, reserves were flagging, which is not great for creativity. So, we found a suitably clean café’. Conversation flowed easily as we refuelled, relaxed and reviewed the .

Bill settled, we headed out to Westcliff-roughly a mile away, stopping at various points to shoot. This beautifully restored VW fired our imaginations, particularly Gena’s (She’d studied car mechanics).

Wanting to avoid introspection and potential confrontation, we sauntered along the side streets and to some distressed warehouse doors. The dilapidated remains of a car dealership were our last backdrop of the day but won’t be our last collaboration...

Quarries & Cranes-the Perils and Pleasures of Location Shooting

Location shoots generally speaking; require forward planning, especially since there’s much greater potential for things to go wrong. Krystal and I had been planning a pier-side carousel theme. However, we are still seeking written permission from some local venues.

From the traders’ perspective, the last thing they want is a model and photographer leaping aboard their rides. Unannounced, and putting a dent in their day’s trading. No more than we’d appreciate being photo-bombed by a mob of bored teenagers.

So, having pressed the lateral thought button, I researched derelict sites within 5 miles of Clacton on Sea. Within 20 minutes, I'd honed-in on an old quarry, disused since 1997.

Access appeared easy and, save for those teens, chances are we would be left to our own devices.

However, quarries and other industrial sites are potentially lethal potentially lethal. Risk assessments and a highly attune hazard perception are crucial. We weren’t going to be climbing any structures, nor shooting in water. 

Nonetheless, signage warning of quick sand, hazardous chemicals and equipment need respecting. 

Upon our arrival, it was full of construction traffic…

Yep, redevelopment was well underway and therefore, access an absolute non-starter.  No matter how good a case I could present, I had no legitimate business here and no site foreman, in their right mind would grant us access/turn a blind eye. 

Model and photographer safety as I’ve said elsewhere, is paramount.  blatant trespass is asking for trouble.

Slightly dejected, we wandered through the nature reserve, back to my car. I had jotted down a few other, potential backdrops. The second was also being renovated-another none starter.

Ever wondered how something pops up, when you’re not actively pursuing it? Well, we happened upon a boat yard and a very helpful man, who said we could shoot wherever we liked, provided we respected others privacy. 

Not difficult frankly, at least for those, with a modicum of emotional intelligence. So, a few boating wrecks later and we settled on this long disused crane as a centre-piece. Lovers of peely paint porn, rejoice.

What Makes a Model?

There is an argument that within the post-modern, virtual world that we can be anything, or indeed, anyone we want to be.

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 modelling industry has much broader horizons.

Similarly, while there is still a baseline, entry level price point, camera equipment has become increasingly affordable. A base line SLR and kit lens bundle can be had for £399-new, cheaper second hand.

On the one hand, this is extremely empowering and allows people to participate and develop their photography. For whatever purpose. On the other, it invites a certain element. One who seeks to use a camera as a means of gaining access to (usually young women) with darker motivations.

True, though thankfully rare, I’ve met some very technically able photographers, whose moral compass is somewhere in the foundries of hell. However, the Guy with Camera (GWC) is more easily spotted. Typically, they can be sussed out in their approach and communication/lack thereof.

They may carry a “professional looking” camera but have no port-folio/website, or one cultivated from stolen images-the right click n’ save manoeuvre. Chances are, at some point, in a model’s career, regardless whether internationally published, aspiring, or hobbyist, they will encounter one.

Before we go any further, the GWC must never be confused with an enthusiast amateur, or hobbyist photographer. These tend to enthuse about their equipment, images and enjoy working with models from a creative perspective.

Now, I have different cameras for different contexts. SLRs being the most obvious choices for location work. I run Sony’s older Alpha (Minolta) since its what I’m most familiar with, and lenses are in plentiful, inexpensive supply.

I also use mirrorless Compact System Cameras (CSC) with APSC sensors, for street photography and similar situations where the larger camera would attract unfavourable attention. Given most models are expecting SLR, I tend to introduce the smaller camera much later. Most are very impressed with the results, too.    

  

I am always shocked but not ultimately, not surprised by the stories models tell me, of inappropriate “photographer” behaviour through the course of our shoots. Common incidents include pushing levels e.g. trying to cajole a model into doing nude/topless work when lingerie is their stop-point. Sadly there are also those who touch, grope, or otherwise intimidate.

Pre-Shoot Communications

A while back, I was discussing this topic with a Vegas based model (who also has a fantastic Urbex You tube channel)  https://www.youtube.com/watch?v=xVKmu1SCKzo  Red flags for her, include a photographer who cannot construct an articulate and detailed paragraph regarding their approach, the nature and duration of the shoot.  

I also work along very similar lines, since a photographer is potentially vulnerable. References are a good indicator, but I am also guided by discussion and gut. 

Two of my first questions are (a) what attracted them to me in particular (b) What direction they were looking to take their modelling/port-folio. My sole objective is to create the standard and type of images, the client is looking for. However, it also gives much wider insight, into their motivations, character and ultimately, ensures both parties know exactly what to expect.  

This keeps things fluid and comfortable, on the day. If our creative approaches are wildly different, or otherwise incompatible, I will politely decline. I’ve done so, on several occasions and this policy has served me well.

Sure, we all start somewhere, but a series of selfies, gives little indication of potential, or aptitude. If you are starting out, as a model and with serious intent, decide upon your genre(s)/levels. Then find a photographer, one you feel comfortable with, and invest in a paid shoot.

Case Study: Carla

Now, before I became preoccupied with a more cautionary, some would say, darker note. I was talking about models coming from all walks of life. Carla stands 4ft 10 and is agency signed, with two years’ experience.

She approached me wanting to expand her port-folio. Contradiction in terms perhaps but she openly describes herself as shy. Hence, I was particularly keen to establish a good and extended rapport beforehand. With a relaxed but conscientious approach, the two hours flowed nicely, and we were pleased with the results. She’s someone I would happily work/collaborate with in future.

       

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