Change of pace: Two hours with Kym

I’d been wanting to add something different to my own portfolio and while pondering what this might be, Kym got in touch. We discussed a blend of sheer, implied, boudoir, and fine art nude. All genres I am familiar with and well within my comfort zone.  

Good pre-shoot communications are imperative to ensure all parties are clear on themes and boundaries are not accidentally overstepped or misunderstood. There are, of course, those who have no respect for other's boundaries, as I have discussed in a previous post. Intuition and emotional intelligence are useful tools in this process, and I had a particularly good feeling from Kym. I’d recently indulged in a mint Fuji X-T100 bundle with an extremely low shutter count. It was at the right price (and the catalyst for shifting some old but still serviceable camera bodies and kit lenses).  

However, there’s a golden rule of not running unfamiliar equipment-same goes for motor/cycle racing or any event where reliability takes precedence. I brought my hand-held “Light wand” for some additional, tunable lighting, trusty Sony A6000 and A6300 bodies, spare batteries, memory cards, and  Viltrox 1.4 lenses to counter problems associated with low light. Retrospectively, the lighter of my tripods might’ve been helpful, too. 

 

No sooner had I headed out on the motorway, rains of biblical proportions struck, and, while sandwiched between two HGVs, a tidal wave of water threatened to spell the end of KA and I. Waterlogged surfaces were also making traction difficult, despite decent tyres. At one stage, the little car’s engine began to misfire, so I pulled onto the hard shoulder, left the engine running and we recomposed ourselves.  

I eventually arrived with 4 minutes to spare (despite almost doubling the time suggested by Google and Sat Nav alike). Against this backdrop, I was determined and focused. Kym was extremely welcoming, with an infectious curiosity and enthusiasm. As an experienced model, I wasn’t surprised to find her very self-aware and while collaboration and ideas flowed seamlessly between us, she needed minimal direction.  

 

Jess

Jess had seen my work and got in touch, suggesting we should shoot and asked me to throw a few themes/ideas her way. She reminded me of the “synths” within the “Humans” series that ran on Channel4 from 2015-2018 and Priss, Daryl Hannah’s replicant character in Ridley Scott’s “Blade Runner” (The original, 1982 version).  

Jess wasn’t familiar with the latter but au fait with “Humans” and liked the concept. We shot in Nowton Park, which is a very central area, with lots of woodland but civilised features, including café and crucially toilets. She had never worked with me before, so model comfort was paramount. I have shot on location countless times, but public places can present their own challenges.  

Most curious passers-by do so at a respectful distance, but small children and springer spaniels can be less generous in their discretion. Practicalities such as changing, let alone any hint of nudity must be carefully managed. Jess brought three outfits (dresses) which eliminated most risks of unwanted exposure, although a zipper presented challenges. She overcame this by pinning the dress closed (there was a palpably painful moment when her careful pinning turned bandit, lodging into her skin).  

A wince and some deft movements bought her release and without drawing blood. Empathy on the photographer’s part is helpful but, these situations come with the territory and a good model doesn’t let it faze them. She simply progressed to the next outfit, and I alternated between trusty Sony A6000 and 23mm F 1.4 lens and the 6300 50mm F1.8.  

 

Guided by Godiva

No, Krystal did not disrobe, hop aboard this highly charismatic horse, and canter around Coventry (We were a good 125 miles away, for starters). However, they met at the close of our shoot and formed a very photogenic bond. I’ve worked with Krystal on many occasions, since 2018 and we have a shared fondness/fascination for derelict buildings/similar locations.  

She’d been in touch, wanting to shoot with a new dress and some accessories. I had been let down by another model (although ending a relationship with a coercive and controlling partner are suitably mitigating circumstances, in my book. All too common, too). Locations discussed and agreed, we wandered around, finding suitably backdrops collectively and at random.  

Some have suggested she is my muse. No, in short. We gel well professionally, but the muse construct is something that belongs in a very different era. Shooting aside, we do spend a decent amount of time discussing the business and indeed, experiences with certain parties.  

All captured using my trusty Sony A6000 body and Viltrox prime lenses.

Sophia

Sophia approached me wanting to update her portfolio, to reflect her new, much shorter hair and to experiment a little. I’d worked with her previously, in 2018 so was pleasantly surprised she remembered me. We decided to shoot down by the Orwell Bridge and thankfully, the weather and lighting were conducive to this. Images were taken using Sony A6000, A6400, Viltrox 50mm 1.8 and 1.4mm prime lenses.  

Back to the Boatyard. Work, Rest & Play with Krystal J

 I received a “Coming out to play” invite from Krystal. She hadn’t a location in mind, so I suggested the Pin Mill Boat Graveyard. She was very excited by the slightly eerie vibe. We share a mutual fascination for derelict and abandoned places and this wavelength certainly helps cement the creative harmony. Krystal is an experienced model. She started with bridal and transitioned toward the “alternative” genre via custom motorcycle publications, including Back Street Heroes.  

I’d prepared for most eventualities- towels, bucket, solvent cleaner, snacks, change of clothes, waterproof hiking boots and first aid kit. However, we were able to shoot uninterrupted, save for the odd friendly greeting from dog walkers negotiating the wooded trail above. An elderly couple were also capturing the wrecks with their SLRs, so we kept a respectful distance.  

 

I was earlier than originally planned and traffic was light, so the tide was also in our favour. The final set was taken as the tide was racing in, but we had a good 90 minutes prior to that. All were shot using my Sony A6000 and A6300 bodies with Viltrox 23mm 1.4 and Viltrox 33mm 1.4 prime lenses.   

Ship To Shore...

 A combination of Christmas and Covid surges meant shooting models and indeed, people generally were off the table. Determined to get creative behind the lens. Poor weather and low light were similar things to negotiate, and I didn’t fancy a mission, distance-wise. 

Then came a tip-off about a boat graveyard, around 35-40minutes from me. Cursory checks of tide times, parking, and general conditions deemed it viable, so I set off at 730am the next morning. Easily accessed, the site is decidedly eerie, was a palpable sense of being watched. Nonetheless, I was undisturbed for 45 minutes, whereupon I felt it best to discretely plod on home...