Jane F

Jane is a professional, agency represented, mature model. She’s worked in commercial, fashion, editorial, catalogue and catwalk. Alongside this solid modelling career, she’d been a teacher for 28 years and has worked as an extra, in TV and film. She approached me in the context of portraiture and headshots.

She was very specific in her brief, and described herself as very critical. Not in a disparaging, or otherwise negative sense. Rather, she had high standards, and knew precisely what she wanted. These briefs may sound daunting but are often the easiest to fulfil.

There had been a lull in modelling commissions recently, although I have become increasingly particular regarding the models and commissions considered. I’ve had several approaches, but pre-shoot communications have ruled them out. 

Jane is based in Suffolk, so Walton On the Naze seemed a mutually convenient meeting point.  5 days beforehand, she emailed advising she’d been struck down with a heavy cold but hoped to have fully recovered by then. 

We agreed she’d confirm one way, or the other, 24hours beforehand. She did just that, I checked cameras and charged batteries. I knew of a few suitable backdrops along the town’s side streets. Public enough, from the perspective of personal safety but unlikely to attract unwelcome attention.

I was a little concerned that the school half-term holidays would present a few challenges. I’d been in Southend the weekend before and that was unusually busy. Several weeks of monsoon rains gave way to autumnal sun, bringing people out-myself included!

Wednesday’s conditions were dry and partly cloudy, which seemed ideal. However., a bracing coastal wind demanded efficiency. I plumped for primes. My 50mm 1.8 default and a 30mm 2.8 E mount Sigma.

I usually shoot between 11 am and 2, especially during autumn and winter. Ours shoot was between 2 and 4. Therefore, I hoped the light would hold out, at least until 3.30.  A 1.8 lens covers most bases and my preferred depth of field.

Pre-shoot communications are also a great way of establishing rapport, which helped in the speed stakes. Nonetheless, model and photographer need a little time to warm up. A set of weathered workshop doors proved the ideal backdrop for her first selection of clothes.

At Jane’s request, I shot a mix of headshots and ¾ length.  Having warmed up, we moved on to Walton’s pier, found some sheltered areas and after a quick change of clothing, continued shooting. This attracted a few onlookers, but everyone remained at a respectful distance.  90 minutes later, we retired to Revved Up Tea Bar  for coffee, shelter and a final review.  

Emma

Emma is a full time Nanny who has recently dipped her toe in the murky, though sometimes magical waters of modelling. She approached me, in the context of a fashion/portraiture themed commission. At 5'9 and blessed with an hour glass figure, Emma has more options than shorter models.

Modelling demands stamina. Mental and physical discipline. Dancers tend to fare very well, in this respect, some enjoying successful careers, well into their 40's and 50's.  Emma practices Ariel hoops, alongside more generic gym work, which became quite evident as time progressed. 

Sadly, I wasn't surprised to learn she's had some very inappropriate, and downright distasteful approaches from some "photographers". I am of course referring to those predatory people with no interest in the profession, or creative ability. 

The sort who use a camera as frontage, a legitimate means of approaching young women, but with much darker intent. This has spawned a new market, referred to colloquially as GWT (Girl With Tits). Arguably a mirror image of the GWC (Guy With Camera), these are women offering to "model" naked for £40ph. I've been approached by a few, in the last couple of years. Graciously decline, block and move on. Mind you, fair play to them, if they can secure regular custom and stay safe!

Commuter towns tend to lack characterful landmarks but Emma knew of several suitable settings, so I followed her lead. 

A railway backdrop was arguably the best, even if we were photo-bombed by a seemingly endless procession of secondary school children. While we pondered the probability of a carefully engineered, mass bunk-off, most passed with a palpable sense of  sheepish deference. 

This set were taken with my A58 and 50mm 1.8 prime, although the A6000 and 35mm Sigma also saw some action. While not formally trained as a Make Up Artist, Emma shows genuine competence, which is another, definite plus. Her fair complexion and rich auburn hair contrast beautifully, so I prioritised colour, although converted a few to monochrome, which she also seems pleased with. 

  

Emily

Emily got in touch, looking to work with me, on a fashion themed commission. Her communication was excellent, and she had a very clear (though not inflexible) idea of what she was seeking to achieve.

Well-travelled and articulate, she’d modelled in the not too distant past but wanted to refresh her portfolio. She was visiting family, so Colchester seemed the obvious meeting point.

Some of the grittier backdrops had gone-replaced by student housing. Thankfully I’d discovered a few hidden gems, while on other, recent business visits. I’d brought my workhorse SLR but predominantly shot using my Sony A6000 and 35mm Sigma 2.8 lens. A  slightly nimbler choice given these contexts.

We’d agreed to shoot for three hours (allowing for comfort breaks and review) and she’d come fully prepared with three outfits. I led her to a Greenway, where we shot a few frames against an electricity substation, before moving towards a railway bridge, with graffiti, for a slightly grittier feel. 

At this point, we decided to switch to a floral print dress, prompting her to change in a wooded clearing, while I stood watch, my back to her. We ventured back along the Greenway to a derelict, fire-damaged building. Fired a few frames there, before walking along East Hill and to what was once an antiques shop. I recall it being a café and second-hand bookshop back in the late 90s.

A good model knows her own body and which angles flatter her. Emily also poses well, with minimal direction, although is very receptive to this, and we were able to move quickly. Location work can be great fun, but public places can be very unpredictable. We chose Castle Park as our next backdrop.

We were conscious of another photographer, who had by the look of it, been doing some landscape/similar work. He lingered, firing a few frames, before my gaze indicated he wasn’t welcome. Thankfully, he took the hint and left. I have no problem with people being curious, for a minute or two and from a respectful distance. Longer and it becomes intrusive.

We were interrupted by another person, while using a weathered gate along Eld Lane. Just as I was about to press the shutter, a man announced, “Do they work?” He was referring to my dual sided, lens mounted reflector. Mildly irritated, I politely quipped “Yes, the best £2 I’ve spent in a very long time”.

Emily patiently adjusted her pose and I fired a few further frames, before moving on. Both of us were tolerantly amused by his interruption and felt it prompted a natural break. Time for beverages and a progress review.

After twenty minutes and some reflection, we decided on another print dress and some subway backdrops. We’d initially planned to begin shooting there but a flurry of overwhelmed mothers and police presence ruled this out.

 A cluster of Community Support Officers remained, but they didn’t pose any problems. Left to our own devices, we captured some nice images here, and by the station. One final review of our work, the three hours were up. She caught the train and I headed home to post-process.

  

Toyah!

Due to a series of extremely unreliable/unprofessional “models”; and the lost revenue, I have virtually stopped working with novices, or indeed, anyone who cannot be referenced. It’s a two-way street. There are equally unreliable/unprofessional, and indeed, predatory photographers.

Toyah liked some of my images and subsequently, expressed an interest in working with me. Maybe I’ve watched “Blow Up” one time too many, but we decided upon a 60’s theme. One characterised by bold colours and prints.

She also had ready access to vintage clothing, which was another definite plus. Referencing aside, her communication was bang on, and she even confirmed all was good (without prompting) the night before.  We went for three changes and used a combination of residential and commercial backdrops.

Unusually, I decided to bring my Alpha 6000 and 60mm f2.8 prime along, with A58 and 50mm 1.8 prime, in reserve. The 6000 is my “studio” camera. Primarily, because I know it’s compatible with most remote triggers.

The older “Minolta” mount A series, less so.  Two hours and three outfit changes later, we were happy with our combined efforts, discussed turnaround times and went our separate ways. Nonetheless, I suspect we will work together again, before too much longer.

Suggestion & Sculpture

If you’ve mistakenly come here, looking for manscaping tips, click away now. I am referring to the creation of enticing images, using low key lighting and nude models.

There is some overlap with the erotic, and to some extent, the boundaries between art and pornography are defined by personal compasses. Upbringing/culture, age, gender, life experience etc all have a hand in this.

As with art nudes, subtlety and graceful, thought provoking shapes are the focus. Genitals can feature but not gratuitously. Captivating, not crass is key. Discuss ideas carefully with your chosen models, prior to shooting. Check potential subjects are experienced, or at least comfortable with the genre, and your assignment, specifically.

Planning and structure are fundamental, but as both parties warm up, spontaneity can strike, with compelling results. As ever, model choice and calibre determine the end results, along with little, practical touches.

Ensure an ambient temperature and suitable surfaces to lay/pose against. Some semi/professional models have underlying health concerns/disabilities, which may prohibit certain poses, or require a more considered approach to shoot-break ratios. These are not things that models are likely to advertise, so if you have any concerns, raise them tactfully, during the discursive/planning phases.  

I shot these with Tania Atherton, using a Nikon D500. Camera choice wasn’t premeditated, rather my Sony Alpha body wouldn’t communicate properly with the studio’s remote trigger-even using a suitable hot-shoe adaptor. A recurrent, though not universal theme, hence I use the A6000 almost exclusively for studio work, and the older A series for location-based assignments.    

The Joy of Second Shooting

Wedding season may well be in full swing, but its’ been almost four years, since I’ve shot one. By choice, rather than lack of opportunity. Second shooting at Punjabi weddings, is familiar territory for me. However, all too frequently, my terms weren’t respected, so, I seldom accept these commissions.

To some extent, managing expectations is pivotal to any trade, though particularly true of photography. I am explicit in my terms and once agreed, won’t be swayed. Family connections can often make enforcement harder. Thankfully this shoot was refreshingly straightforward.

This wasn’t a traditional Punjabi wedding, rather a beautifully executed hybrid of civil ceremony, and celebration reflecting the couple, their respective families, and friends. Though I’d like to feel I’m proficient at shooting formal, posed portraiture, I prefer a more candid, reportage flavour, when it comes to weddings.

So, second shooting is perfect, and presents little risk of me impeding the main photographer/team. I’ll leave that to “Uncle Bob”. Uncle Bob is a slightly contentious, derogatory term, similar but less sinister, than GWC (Guy with Camera).

Uncle Bob may well impede a shoot, by nipping in “photo-bomber” fashion at the least convenient moment, often to mimic the commissioned photographer’s image (Between my thighs, at one event).   

By the same token, I consider it important to appreciate guests’ desires to capture their memories from the day. On a personal note, I’ve never been someone who seeks attention.

Alternating between an 85mm 2.8 prime and 50-200 lenses certainly helps maintain a respectful distance, though thankfully, the mood was buoyant throughout, and most people pleasantly oblivious to me. For portraiture commissions, I prefer a 50, or 60mm 1.8, so was mildly annoyed to discover I’d forgotten to swap the 85mm before leaving home. However, by my reckoning, a blessing in disguise.