Portraits From The Street

Street photography is reputedly more controversial than it once was. Discretion and the ability to read your environment are crucial but otherwise, it can be a very rewarding experience. Seaside towns have long since lost their shine. Once proud guest houses have been bought and converted into flats and bedsits.  

Lower rents have long seen Metropolitan local authorities displace ex-offenders, the economically inactive and other vulnerable adults, since housing benefits/similar costs were commensurately cheaper. There’s also something very comforting, nostalgic about the seaside.  

Then there are those who fall through the cracks. I frequently hear the mantra that if you have the skills relevant to the economy, then you will be fine. In reality, small changes in circumstance can have dramatic and unforeseen consequences. It doesn’t matter how well educated, or skilled you are. The “perfect storm” can render any of us homeless. I’ve done advice/similar work in hostels and in outreach settings. I also came precariously close to becoming a statistic. 

Southend on Sea and its peripheries are familiar territory for me. In keeping with many other towns, street homelessness has become very obvious. Loss of employment, end of a relationship, leaving care, the military are all common routes. Alcohol/similar substance misuse is another, but they are also a means of numbing the cold, fear and isolation associated with it.   

Feeding someone’s habit is not helping them, so money is a non-starter. However, I often carry snacks and will buy food/ teas/coffee, etc. There’s no secret to this. If you treat others as you’d want/expect to be treated yourself, then you’re not going to go far wrong.  

Reading people and your immediate environment is crucial. If I sense someone wishes to talk, I will engage. The woman pictured wasn’t homeless but approached me while I was capturing some footage along the seafront. She wanted to talk, and I asked if I might take her photograph, in a candid, though flattering fashion.  

She happily obliged and after a few minutes, we went our separate ways. I headed to a Turkish restaurant/café for some food and diesel strength coffee. I headed back towards Westcliff, whereupon I met this man, bedding down in a shop doorway.  

I offered him some food, which he gladly took, then seeing my camera, asked if I would take his photo. I took a few frames, wished him well and moved on before my presence drew unwelcome attention. A few minutes later, I met this extrovert busker, who was very happy to be photographed.  

Finally, there was Kenny. He initially asked for money, which I graciously declined before we began a conversation. A generalisation perhaps but he was seeking a hand up, not a hand-out. His own journey to the streets mirrored the chain of events I referred to earlier.  

I asked if I could take his photograph, explaining that I wasn’t looking to create “poverty porn”. He too readily agreed and we talked for another few minutes. By this point, natural light was fading. We wished each other well and I headed at a smart pace along the London Rd. There by the grace of God...

Louise

Louise had approached me a few months back, looking to shoot in February. An accountant by profession, she was looking to build the boudoir/lingerie components of her port-folio.  

She is very new to modeling but communicated well, and had a very clear idea of what she wanted to achieve from our two hours, which is always helpful. 

Shooting at a model’s home can be the best or worst of scenarios. However, when it comes to boudoir/lingerie (and especially new models) the sense of familiarity means the model is immediately more relaxed.  

Though well-versed in studio environments, I prefer natural light, when it comes to boudoir. Provided windows are sufficiently large, the softer light provides an additional element of intimacy. Talking of which, a respectful distance is equally important, hence these were taken with my favourite 50mm 1.8 and 60mm 2.8 prime lenses. A dual-sided (silver/gold) reflector being my only additional source of lighting.     

Suzie Marie

Suzie approached me in the context of a port-folio refresher session. She had modeled when she was much younger but children and other responsibilities meant it took a back seat. She was also wanting to regain her confidence.  

A hairdresser by trade, I wasn’t surprised to find her presentation and preparation bang on. There are definitely parallels between social photography and hairdressing. Both are very personal services requiring empathy and rapid rapport.  

Despite a bitterly cold wind, we managed to achieve some very pleasing results. Regular breaks to warm up and review progress also encouraged wardrobe changes.  It was quickly apparent she had modeled before and was very self-aware, which meant she posed very naturally and took direction equally well.   Key reasons why I enjoy working with those returning to the profession.  

  

  

Winter Fashion in The Woods with Emma

Emma reached out to me in the context of a winter fashion shoot. She had plenty of ideas and having thrashed out the finer details, I knew just the location. This was mutually convenient, and according to forecasts, conditions were favourable. Cloudy and 11 degrees. In practice, it was decidedly overcast and felt closer to 7/8 degrees, when windchill was factored into the equation.  

This meant we reviewed our work, from the relative comfort of my car and in between clothing changes. I went for 50mm 1.8 and 60mm 2.8 lenses, Sony A65 and A7 bodies respectively. I also packed my hand-held “Light sabre” LED light, in case we needed a tune able light source, to compliment the reflector.

  

However, a few test shots confirmed this would be unnecessary. Umbrellas were also packed, just in case the weather turned. They’d also double as useful props.  

Standing 5’9 Emma’s height and build favours editorial and fashion commissions. She can also apply makeup to a flattering standard and is very self-ware. The latter helps in the context of posing, although, like all good models, she readily accepts direction.  

Relative seclusion meant we could work, and she could change, without interruption, or unwelcome introspection. Two and a half hours later, pleased with the in camera results, we concluded our shoot and I went home to post-process.   

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.