Venise

Venise is an experienced, versatile model. Our virtual paths crossed when she was looking to shoot, and I was seeking mixed race/olive skinned models.  

I do a fair few fine art (nude) commissions and am flattered models feel particularly comfortable with me, in said contexts. However, while specialisms are good, typecasting is undesirable.  

For our first shoot, we decided upon a Boudoir and lingerie theme, shot using natural light, at her home. Rapport blossomed quickly and within an hour, we talked in terms of future shoots. This led to a subsequent, two hour nude/implied theme, the following week.  

The model's home can be ideal for these styles. They are in a familiar, comfortable environment, and theoretically, most relaxed. 

However, this isn't always so. Therefore, I explore the following, during formative, pre-shoot dialogue.

Technical

In technical terms, I like to establish room sizes/floor space and the amount of natural light available. This will dictate what lenses, reflectors and portable lighting I bring along.  

Logistical

House/flat shares of a platonic nature are also very common, especially in big cities. 

Not necessarily a deal-breaker, so long as you can work undisturbed. Four housemates all begging to use the toilet, while you're doing a shower, or milk bath shoot, is at best, inconvenient.

 Dynamics

Then there's personal circumstances/household dynamic. I'm perfectly happy with a non invasive, third party/chaperone. Jealous/controlling, or indeed coercive partners, are non-starters. 

These were all moot points here, and with other models I have undertaken similar commissions with. Nonetheless, thorough preparation is key. 

  

William

William is an aspiring model, who wanted some help with his portfolio. Standing 6ft tall and weighing 11stone, he has promise for commercial, editorial and fashion work.

He had a very clear idea of his objectives, and what would flatter him. Given December has been decidedly wet, a studio setting might’ve been a more obvious choice. However, the weather forecast was favourable, and William had some specific backdrops in mind.

We shot for two hours and I was impressed with his quiet determination, willingness to learn, and receive constructive criticism. He was due to meet with some  agencies this week, and I’m hoping he got signed.

Daisy: Anonymous Nude

Out of the blue, I had an email from Daisy, a catwalk and commercial model, with nine years’ experience. Apparently, she loved my work and specifically, art nudes. Given her status and high-profile client base, more traditional nudes were a non-starter. Career suicide, in fact.

For a wealth of reasons, I am very particular about who I will undertake nude commissions with. Though there is a huge difference between erotica and pornography, gratuitous nudity, or tabloid “Glamour” work has no draw for me.  

Standing 5’11 tall and weighing 9.5 stone, her lithe, yet extremely feminine figure were perfect for creating intriguing shapes and close-up body-scapes. Given anonymity was the overriding theme, I discussed a slightly surreal element. One that Daisy seemed amused by. Bottom line (and this goes for any trade/profession) never ask someone to do something they do not feel confident, or comfortable with.

Though fluidity does strike during shoots, they must always remain within the boundaries agreed. I’ve had models book me for lingerie/boudoir themes, then feel midway, they’d like to try topless/implied. I gently decline. People often do things in the heat of the moment, without considering the longer-term consequences. I may consider this level, as a separate booking, a few weeks later. Once I am confident they have thought it through.   

Having established terms of reference, perimeters and levels, I loaded up my KA with Sony Alpha and A7 bodies, 50 and 30mm lenses. Portable lighting and reflectors, spare batteries and a full tank of fuel.

Thankfully we were shooting on a bright day and the building had a good supply of natural light. Never underestimate the importance of ambient temperature, when undertaking nude, boudoir or similar genres, either.

The anonymous aspect means covering the face, either with hair, masks, or similar props. This can leave the model feeling acutely vulnerable. Especially, if they are unfamiliar with the photographer/assistant. Therefore, I maintain a running dialogue, saying where I am, and what to expect next. I also break regularly, so both parties can review the work.

This reveals what we’ve achieved, where to go next, what worked and sometimes, what didn’t. We noted a couple of shots, which were more explicit than either had intended, so these were deleted. Solid rapport lead to the shoot overrunning slightly, but time is another boundary that must never be overstepped.  

An extremely rewarding shoot with a delightful woman and a consummately professional model.  

  

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.