The Face Of Awkwardness: Or How I Stopped Hiding Behind Social Media & Learned To Love The Shoot

Professionalism. A nebulous concept. Meaning different things to different people. The variability of multiple factors make pinning the concept down tricky. Some equate it to mean insincerity, to others politeness, reverence, or disingenuousness. A tailored approach to fit the individual and situation, digital or otherwise, is a no brainer. 

Yet impatience — switch impatience for desperation — eats into the basic principle of just being nice. Desperate for my Instagram numbers to climb, I attended a class run by a self-styled social media guru, a mediocre photographer who shot art nudes in an East London flat. I felt convinced he had something to say by the sheer volume of followers he amassed weekly.

After three hours of unedifying oration, two bits of advice surfaced. Post regularly (fine) and follow en masse people that may like your style. And yes, my numbers did creep up. I was getting more hits, likes, follow back and shout outs than you can wave a stylus at, but the cynicism was too much to stomach. Mostly sycophantic comments bubbled up to my notification screen and arrived with its own agenda. The central conceit a cynical ploy to make yourself look good.

The ability to amass a following needn't be a bulldozer approach. And this is where professionalism comes in.

Since shooting fashion photography, courteous emails, reliability, competence and projecting my personality in a considered manner, have all helped me to build a contact list of industry professionals. It’s small, but growing, growing in the real world, and translating to my social media. Apply this to models and bookers to continue shooting fashion. After all, without bookers, you’ll struggle to find models. And without models, fashion becomes a dull, static experience.

Notwithstanding the obvious creep-factor, a photographer can easily hide behind a camera. Reversed for the model, they are exposed in the scene set by the photographer. Through your lens the model will look you directly in the eye. I found this shocking at first. Ill prepared, I found my vocal cords constrict, dry up and refuse the passage of air for me to intonate audible directions. Persistence was key. 

I discovered that I felt out of my depth. Across the lens stood the model, behind me a supporting cast with vested interest in me snapping my shutter at the right moment; to frame the picture correctly; get my angles right. I felt the pressure to keep developing the rapport and hopefully not alienate anyone. 

The sound of silence was intolerable, causing a growing awkwardness with every missed opportunity to say, ‘move left a bit, try tilting your head up’. You can’t be crippled by it; silence reveals your beginner status. If you want to survive, you have to speak up. Besides, you have stuck yourself into an unfamiliar situation already, going a step further and speaking instruction will not expose you — it’s the opposite.

But there are other factors that can help.

I discovered that when cast correctly, the model better reflected the shoot’s concept, and with their movement and facial expressions, emoted like silent movie stars to tell the story. I realised their creativity is within these nuances, and is built on trust. You don't get that immediately, and if you do, that level of fearlessness is rare. 

Over time the model will open up, relax facial muscles, go bolder with their poses, and just occasionally reveal something completely intimate. Knock that with too much criticism, and you knock the trust and you lose the shoot.

I wanting to reach out, to break the awkwardness and silence, but you risk losing face and trust. Yet you cannot hide behind your social media in the real world, the need for social skills inevitably surfaces. Really, what I am telling you is to be nice, polite, not cynical, and the rest will follow. And yes, I did say the wrong things, and I did end up misplacing jokes, but like the first bunch of your photos, you need to get them out before you start to be good. 

In time, you will move with your model and create art together.


Transitioning — The Contrasting Aspects of Street and Fashion Photography

There appears to be a direct line between shooting people on the street and eventually shooting models from a catwalk. The transition of a street photographer into fashion photography is a well traversed path. 

Many of the classic shooters of street photography were later commissioned by such luminaries of the fashion world as Vogue and Harper’s Bazaar. William Klein and Saul Reiter are two of the big hitters to have succeeded in both fields, and they offer reassurance and inspiration to my ambitions.

Knowing I have gained transferable skills shooting street — that you photograph people is an obvious starting point — is useful, but the differences are remarkable. As a street photographer I aimed to be stealth and hidden from the crowd. Shoot and move. Look for the natural scene, not one contrived on moodboards. One or two frames per moment. If the subject has not clocked, then I would reframe for a few shots more. 

On the streets I am not a pretty sight. Between shots I snarl and grimace and wave my camera above my head. All the things I should not do to remain inconspicuous, but I feel the aggression to shoot people off guard. 

People have shouted at me and I have received all sorts of stares and dirty looks for pointing my camera at their direction. I feel hardened by the streets and have come to understand the tough nature of photography. The fashion industry too can be brutally honest. Rejection is high, but that is the nature of the beast. The idea is to produce images that wow, which is only possible through diligent rigour. 

Yet the joys of shooting street are unbound. Fashion photography has a level of satisfaction unmatchable when you get it right. It is full of contradictory beauty, controversy, an indisputable art form. Some may find it contrived; for me it is freedom to create and to soften my approach.

Street photography can take on multiple forms. Bill Cunningham, the celebrated photographer for the New York Times, pioneered street style as an off shoot. Photographing celebrities and the stylish New York public alike, the theme always was to capture the essence and emerging patterns on the streets of the great city. He did so with gentle charm and tenderness. 

http://billcunninghamnewyork.co.uk/ Before the internet and before the likes of fashion bloggers, there was Bill Cunningham, the street-fashion and society chronicler for The New York Times. After 50 years of cycling the streets of the Big Apple with his camera, snapping the great, the good and the stylish, Bill Cunningham is now in front of the lens in this loving and intimate portrait of a remarkable man and a chronicler of a city.

 

Shooting fashion I must to be vocal and to interact fully with my subject. Without this interaction, everything is static, and you risk losing the model’s engagement. Dancing with the model means I have a high shot count, counting upwards of twenty frames per pose. I don't shout to myself or the model, I don't ignore them immediately after catching their photograph, or ignore their attention on me — fuck off, I've got the shot already. 

No, I am much gentler than this with a model. The trick is to capture emotion and being aggressive is not conducive to the emotions I want to capture in a shoot. 

I trained my eye for hours staring at buildings, counting windows for symmetry or finding the correct composition within an uneven cityscape. I have wondered all sorts of locations and have an ongoing list of places to take models, without ever needing a studio. Shooting people, I know when they are comfortable or inhibited, and know how to capture people with their guard down. The years I practiced shooting street photography I believe will see me in good stead.


How Pushing Through My Comfort Zone At London Fashion Week Led Me to Shooting Fashion Photography

Admitting to oneself one’s true desire can be tinged with fear. For me, fashion photography was such a desire that I could no longer ignore. 

A little over a year ago, I was compelled to shoot at London Fashion Week. The urge grew irrefutably stronger throughout the day, and despite having no fashion photography or street stye experience, I headed to Soho.

Half the fun of fashion week takes place off the catwalk, and we were there at LFW AW16 checking out all the biggest street style trends. The bomber jacket ruled the roads in terms of outerwear. From cool khaki to hot pink, wear it oversized and cover with badges or patches for a unique edge.

The winter sun unusually gleaming that February afternoon, I entered Brewer Street knowing I needed to engage with my subject. A departure from the silence of street photography, I was comforted knowing the fashionable like to be photographed. Still, the need to ask, “may I take your photo?” was daunting. After several hours a rhythm developed as I shot models, stylists, bloggers and blaggers. I felt uplifted. 

Ramario Chevoy was the second person I shot that afternoon.

Back then, my life had arrived at an unimaginable juncture. I questioned my existence daily. The choices I made, the brevity and the supposed preciousness of life were all contradicted by my mode of living; funded by a career I did not implicitly chose; a consequence of a failed medical degree undertaken with hubris.

Eventually, I could not lie to myself that I was happy. My depression relapsed. I was unable to care for myself. My family less so. Every aspect of my life had to go on hold. All except photography. Photography provided a lifeline.

A change was necessary, but really I was snapping my shutter in the dark. I would go on day long shoots. Wandering the streets of London without food or water. Sharpening my eye for street photography sustained me. I would leave my wife by herself to look after our new born daughter, while I searched for a voice to express.

Shooting buildings quickly became banal. Alone with my camera over the cold winter months, what emerged was the compulsion to shoot people and candid portraiture. I learned to be a ghost and silently I drifted through crowds looking for human interactions to photograph. To capture and collect with only my thoughts as a guide.

I would be shocked and jolted by a subject clocking my intensions. Occasional shouts and challenges would come my way, and eventually, I developed a tougher exterior to these criticism. Really though, I was met with positivity, and at worst, indifference. I learnt to exist as a street photographer, a part of my life worth cultivating illuminated and with each photo a greater path cleared.

131 Likes, 1 Comments - Mehmet (@flyingpadre) on Instagram: "Street style at London Fashion Week."

Attending LFW suddenly became an irrefutably logical progression. I came home and immediately edited my pictures and began posting on my Instagram feed. I tagged Ramario into the picture and he responded positively.

I suggested meeting up for a shoot the next day, and to my surprise, he agreed. Completely complementary, Ramario encouraged me to make more of my secret dream. 

Months later, as I began to recover my life, I started to reimagine what my future would look like. I readopted long ago abandoned ideas; I began writing again. The voice I use today, years before was dismissed in favour of a medical pipe dream. I wrote with abandon and enrolled onto a journalism masters. 

Since that day, I have photographed Ramario at LFW whenever we have been present together. And with a growing portfolio, the fantasy of shooting fashion photography is slowly becoming a reality. 

Ramario Chevoy is a dancer and an agency represented model at VauHaus.


Trump Trump

Since Donald Trump’s inauguration on the 20th of January, multiple demonstrations have cropped up across the world to voice their opposition against Trump’s brand of politics. Mehmet Hassan found out how the London event shaped up.  

The roads are glimmering from the early morning rain. The sunlight emerging through darkened clouds reflects back and the crystal clear air chills to the reality of what is happening across the Atlantic Ocean. It still seems like fantasy. The daily mundanity of life seems to cast over the cold reality of the wider world changing to a less tolerant place.

I am told by a beanie wearing man that entering Grosvenor Square will cost me a pound. “You can't just stroll in here and take pictures mate, you have to wear your badge on your chest.” I retort that I would be happy to contribute and pay up. So we exchange a pound for a badge, and my entrance to this public garden is approved. Yet I can’t help but wonder the validity of my pound’s power to admit me into this arena; after all this is a public protest.

The garden paths are wet and downtrodden with mud. An estimated 40,000 people will have joined to protest, to witness, to say no to division, and to let their voices be heard for now and for history. The grass that is increasingly trampled upon and pushed deep into the undersoil I imagine is grateful for the glowing sun above. I know I am feeling the gratitude of the rain sparing us on this important day.

Speeches echo throughout the park. Each threatening our politicians legitimacy should they accept Trump’s visit to these lands. The excitable crowd, responds to each statement with uproarious cheer and applause. Lindsey German, of the Stop the War Coalition excites the crowd with her message to Theresa May: “Do not dare follow Donald Trump or you will be out of office and he will be out of office as well. If he tries to come here we will stop him every step of the way.”

The sympathies echo the near two million signatories supporting the petition against Trump’s state visit. Yet I have little faith that the petition I signed last week will result in Trump being bared from these shores. The reality is Trump is the 45th president of the USA and he will come. And May will remain Prime Minister. Hours, weeks and months may be a lifetime in politics, yet the reality of such rhetoric to incite progress is a relative snails pace.

Yet the duty to shout against this madness and to remain on the correct side of history — to join marches and sign petitions — is a base necessity to keep our head above the tide of intolerance.

Banners of all colours, shapes and sizes catch the gentle blowing of the wind. Their diversity a candle to the diversity Trump stands against. People of all colours and nationalities are in attendance too, walking united against Trump’s unfettered divisive rhetoric. I am amazed as a journalist that I am not obliged to state ‘allegedly’, ‘arguably’, or quote an unnamed source when describing the controversial policies that are strolling out of the presidential office. “He doesn't hide it,” an American mother adorned with her nation’s flag tells me.

Present too are faces I recognise from previous marches. Organised groups that attend all forms of protests against individuals and policies that threatens socialism. Arguably the rise of the right has begun. The fight to protect socialism and leftist ideals cannot be left to complacency. Brexit, Marine La Pen, and a series of far right parties throughout Europe are now legitimised as valid alternatives to the disaffection people have developed in the face of post-Second World War politics.

Spare a thought then for the Anarchists. Furiously bellowing their hate for the status quo, a group representing this doctrine joined the protest to offer their alternative viewpoint. A rasping voice screeching through purple lipstick; a pink haired woman beseeches the crowd to “end exploitative capitalism! Smash up the Rolls Royce’s. These Rolls-Royces and Bentleys all over this square.”

Standing just beside and even angrier, a leather capped man is espousing similar anarchistic rhetoric.

“They’re just a load of sheep. They should be out against their own system. Destroy the Queen, destroy the House of Lords, destroy Parliament. We need a real revolution in this country, not fucking posers.

“To hell with the queen, to hell with the royal family.” He responds to calls for the Queen’s protection from Trumps proposed state visit, “we don't want to protect them, we want to get rid of them. We want to behead them. We want to guillotine them. Our revolution is long over due.

“To hell with labour; to hell with Corbyn! To stay on the left, completely irrelevant. You’re losing the working class to UKIP, don't you realise that? You're just stupid, you're idiots.”

Edgy and perturbed, he sidesteps away to catch his breath. I cannot help follow and question him about his affiliation. Defiantly he states he has no affiliation, but later accepts that he is part of the Anarchist movement. The anger he felt when he joined in the late sixties is still relevant today. He is openly frustrated by the repetition of history. He hands me a makeshift business card. I ask if the name on the card, Martin Lux, is his name, and he replies it’s a pseudonym before continuing: 

“Let trump come and when he comes we’ll make the fucking city burn.”

Today, the city continues to its usual beat, with cafes, restaurants and shops opened for business as usual. Customers staring through polished glass as the protest interrupts late afternoon coffees and brunch. Amused faces gradually pour out of the shops, and with glossy hands holding aloft oversized designer bags, pictures are taken of the procession of protestors passing from Mayfair to Piccadilly.

The message of tolerance is in evidence throughout the march. Chants vary from the sober messages of “refugees are welcome here” and “say no to Trump, say yes to the NHS”, to the blunt “dump Trump” chorus and the absurdist “Trump has tiny hands”, are all sung as the march nears Downing Street. 

Adorned in balaclavas and scarves, an isolated group seemingly intent on inciting trouble head to the centre of Whitehall. I follow their path from behind, and watch a policeman suddenly clock their presence and send an alert to his colleagues. Inevitably they are alleged to have assaulted a member of the public. One of the group wriggles free from the clutches of an exasperated policeman. Sympathies are not with the falling policeman, but with the balaclava-ed man. The crowd immediately surround the situation and believe this is a sign of the heavy hand of the law.

The event as a whole is beyond peaceful and united. An amassed populous comprising of all ages, races, genders and sexualities listen intently to the last set of speeches. Unfortunately, Jeremy Corbyn could only contribute via a video message, eloquently stating he would oppose Trump in all his capacity.

“Trumps invite should be withdrawn, until the executive orders are gone, and every element of them repealed. Today, we stand with solidarity with our friends all over the USA, who share our views and values, who are standing with minority communities under attack. Theresa may and the Conservatives are on the wrong side of history.”

There appears to be coming from the USA some sense, as I am sitting writing this article, my phone bleeps to let me that the federal judges have upheld the decision to keep Trump’s executive order suspended. A blow to the anti-emigration decree he signed within days of taking office. Let there be more backlash from all levels of society. 

The petition against Trump’s state visit will necessitates parliamentary debate, and is to be held on the 20th of February, and with the speaker of the house breaking his obliged political silence, there appears to be protest at the higher echelons of our society too.