I recently had a lady call me about acting or theatrical headshots for a talent agency submission. She wasn’t quite in the senior bracket but her look caught the eye of a local casting director and they told her she could be used for a parental role in commercials or even be in pharmaceutical commercials. She had told me she never acted or did any modeling in the past and wasn’t too sure about all this just yet, LOL! But she decided, sure why not, let’s go for it! She was honest with the agency that she was referred to that she had no prior experience and didn’t have a lot of time or money to put into it. Her only investment was hiring a photographer for headshots and an agency listing fee to be featured on their website.

The agency told her they didn’t have many people in her age bracket and there was an opportunity for acting and commercials for the senior age bracket. She found my website and liked my style of headshots and portraiture, and after talking, we mutually determined we’d be a good fit to work together, and I could offer her what she needed. We did a friendly approachable look for an acting headshot, but I particularly enjoy this theatrical headshot with some mood to it.

One challenge I’ve always enjoyed about headshots is that no other part of the body takes away the viewer’s focus from the face of the subject….therefore the expression, how facial features are captured, and the overall emotion and soul are captured is more telling than a portrait composed more loosely. A good portrait and headshot photographer knows how to bring out the subject’s best features, know their best angle based on the shape of their face, and avoid problem areas. Examples would be shooting into the bend of someone’s nose, shooting from a higher angle and using a telephoto or standard prime lens if the subject has a rounder face, and using the right lighting to fit the look of the subject. Also creating the best mood of the photo, along with proper lighting and composition to be suited for the headshot’s specific purpose.

This particular method shown below wouldn’t work for every subject, but with her, I wanted to create a dramatic mood, not only with her confident and smitten expression. As well as create a good jawline shadow to emphasize her lovely jawline. Let’s not forget nice but subtle catchlights in her eyes. The setup was simple. We had just shot on location and the sun was starting to go down. I set up my Elinchrom Quadra strobe on a stand, off camera with a 17″ beauty dish, about 30 degrees to the front and to her right about 5 feet away. And a white reflector fill on the opposite side, within 2 feet of her. This way any nose shadows can be softened, that would normally be caused by off camera lighting off to the side. I like this particular image because of the mood and soul, strategically placed shadows, and the framing. The top of her head not in the frame draws more attention to her eyes and jawline, and lovely skin…all the features I wanted to bring out.

I’m well experienced with commercial modeling photography and the mood of my photos having that commercial feel, but I don’t do this with children very often. If the child enjoys it and isn’t pushed into it by a gung ho stage mom, it’s a good opportunity and a great ground floor opportunity to excel when they are older. This mom is very realistic and wholesome, and has modeled herself, so she understands how it works. Her daughter really seems to enjoy it, naturally there was some shyness to overcome at first but she did a great job! The main difference between childrens’ commercial modeling and teen and adult, is no makeup or lipstick, and more cute and innocent, but natural mood. And no,she was not wearing lipstick, only some gloss, lol. Naturally red lips. The same rule applies, avoid distracting patterns of wardrobe and distracting jewelry. The idea is similar to fashion modeling, that the subject markets a product and represents a mood. With standard portraiture, it’s about capturing the soul of the subject. There should be good eye contact and animation in the headshot, but full body shots can be more candid in feel, as long as you can see their eyes and expression, and the “pose” looks natural and fun. Lucky for us, the leaves had begun to fall this week, so before we hit the studio, we got to take advantage of that.

Photographers- the outdoor shot was with my Elinchrom Quadra on my flash bracket, and battery pack on my back. I needed some extra fill to fill in shadows and bumped up the ISO to 400 to capture the ambient light. This way there is good overall balance, good catch lights in her eyes, and overall good lighting contrast. The studio headshot I used umbrellas at a 45 degree angle to light the background, aimed down. I had an overhead strobe and grid for a hair light and a beauty dish slightly overhead on a C-stand about 6 feet away from where she sat. This way we get good contrast and a nicely defined jawline shadow.

After my Tybee Island trip I stopped in Atlanta to see my friend Angela and do a little photoshoot with her, as seen in my journalistic portrait post last week. She is pursuing a music career and wanted new headshots that had a flair of style and attitude. I was all for it. I had minimal gear with me, so I got my 70-200 f4 telephoto lens ready, and used my Elinchrom Quadra off camera, on a small Manfrotto stand, with an Elinchrom 17″ beauty dish as a modifier. I placed her about 2 feet from the hallway wall with some texture and color, and placed the dish as high as this little stand would go, slightly above her head, aiming slightly downwards at about a 4 foot range for the best lighting contrast . This way we reduce the chances of reflection in her glasses and we get a pronounced jawline shadow, win win. Between the small flash tube and small sized dish, there is a little bit of light falloff, but it turned out to be the right tool for the job. And all of it fits in one rolling case. One thing I am fortunate about, when photographing her, there are no problem areas to shoot around, and we are so used to working together, we always nail it.

Finding a clean wall or somewhere with a nice texture or subtlety of color, often makes a perfect simulated studio, when away from the studio, it’s about being resourceful. We just had fun and shot briefly, but had a really dynamic range of emotion and expression, not to mention eclectic styling and some nice on location lighting. We both enjoy collages displaying this range of expression, so I put one together

And in fact, this photo would make a perfect theatrical headshot if she wore a top that covered her shoulder tattoos and went with a more subtle lipstick. Expression would be perfect, but that wasn’t exactly what we were aiming for, but they fulfill the intended purpose I hope you enjoy these neat and entertaining portraits.

I certainly will never look down on anyone for being a beginner or trying to learn photography….in fact over the years I have helped many, and several master photographers have helped educate me as well….it’s just common decency and helping raise awareness and education in the craft I love and want to preserve. Helping others make it a better place for all….now that the fairly derogatory thread title got your attention, here is the distinction between someone newer and trying to learn, and someone whose intent with photography is clearly displayed in their work, not in the most flattering way. There’s nothing wrong with being a hobbyist photographer, but “playing” professional photographer by making it a business, it’s an entirely different thing to actually be one. Yup, my pet peeve is someone thinking this craft is easy money and getting into business without knowing the craft as well as they should….or have any idea how the business operates. Therefore watering down the standard for our business.

So, a client might think a photographer is a “wannabe” if he or she pitches their service to them, but they don’t have a strong example of what they need in their body of work, or are not equipped to serve them. I hear this connotation most from models, because they deal with more photographers than the average person, and deal with a lot of solicitations. Lots of Model Mayhem models refer to those photographers as GWC…..guy with camera. That does not mean beginner or someone trying to learn the art or craft of photography. It means that the clear motive in that person’s work, is just to shoot with pretty girls. Their subjects are not being captured creatively or in a flattering manner, or cheaply. Other things that give models those feelings are seeing images in that photographer’s portfolio they can not use, poor and careless Photoshop….examples are over whitening teeth and eyes, soft focus or too much smoothing or airbrushing of skin, mixed saturation (part black and white, part of the image color)extremely large image logos on the photos, etc….which I agree, that makes the photos useless for any other purpose besides a few people saying “cool photo” on Myspace or Facebook. Also poor lighting, dull composition, and having only one kind of subject (and in their mind, not captured well) Most people with a discerning eye know that every photographer has their areas of specialty…..but a good photographer can command similar attention of a photograph of their 75 year old neighbor, as they can a pretty 18 year old female model, if captured right.

Now, someone fitting that description just doing it for enjoyment is fine, as long as they aren’t hurting anyone. Of course, those who fit that description, are often thought of my models as those who hit on them or are just using this hobby to have female company. And those are based on what their work says, and how they converse back and forth about setting up a shoot. Do what you enjoy, as long as it doesn’t infringe on the rights of others, but be ready for repercussions whichever road you take. Hopefully this helps clear up the honest perception of others. Happy shooting!

I guess there is more than one answer to this. The traditional sense would be as fashion models and commercial models are seen and used today, as in the past. They are represented by agencies and the agencies provide models to commercial clients who have a casting for models, to wear and showcase their product, clothing article. It becomes a professional modeling gig when there is a client, and the model is hired to be on set. In that context, the image is captured in such a way to draw attention to the product more so than the subject. And the models are paid for usage and their likeness being used. Commercial models are often more animated, and their mood helps represent the product, or service a company offers. That’s where expression matters. In either case, there are height and measurement guidelines. These professional agency models need to keep updated portfolios, by going to a professional model / commercial / fashion photographer and getting modeling or commercial headshots made, and sometimes full or 3/4 length body shots, depending on their local market and agency requirements.

A pretty girl posing in the mirror making a duckface, or having cute photos of her taken by a friend with a camera, for cool photos to put on Facebook, is not the definition of a model. Regardless of anyone’s opinion of Swimsuit calendars or Playboy type magazines, those are glamour models and they are indeed models as much as any other model, just different style. They are hired by the client, and it’s their ability to draw in the viewer, instead of marketing a product, that sells their image. So in this case, it’s about the subject. There are freelance markets like Model Mayhem, etc. and there are some on there who are professional traveling models and big city agency models….others are hobbyists and just enjoy being photographed, which is great if that’s what they enjoy! Or if their look or stats don’t meet agency requirements, this is their option. By technical definition, they are photo subjects, and those who are shooting for any client for commercial use, are models. This model was shooting with me for a new clothing brand, so there is a client and a commercial usage here. I encourage research and learning how things work before thinking, oh I wanna be a model. Due diligence with all things, and that saves wasted time and disappointment, and chasing after something that isn’t understood.

I have known Angela for 7 years now, and have done many photoshoots with her. Both for artistic and commercial purposes. I’ve always appreciated her friendship, as well as her dedication to everything she does. What separates a muse from a model, is the muse and photographer is a rare combination, where the 2 collaborate, for mutual benefit and certain things are just understood about their arrangement that don’t even need to be discussed, it either falls into place or it isn’t there. To be a muse requires working together on multiple projects and helping each others’ conceptual visions and image overall. This arrangement means we respect each others’ time, and not cancel or waste the other’s time, and comfort / respect boundaries are automatically in place. I have that with Angela. She puts equal effort into every shoot we have done together, even though we have always lived 2-4 hours apart. There have been times where we have shot fairly frequently and also where lapses of 2 years have gone by,  and we didn’t miss a step when we got back on set together. That’s not something to take lightly

She has lived in Atlanta for a few years and has changed her look considerably. Totally different hair and new tattoos…..so she wanted to showcase her new look and get it all captured in detail. And do a shoot with some edge and attitude, as we have always been able to produce together…so I went to Atlanta and shot with her in her apartment, a parking garage and a breezeway, all on a pretty cold day mind you. LOL. So outdoor time was kept to a minimum. I used all natural light with a reflector with these, with nice shallow depth of field. After our shoot, a group of us went out to a Midtown Atlanta club, Vanquish, which was a lot of fun. Yup, I needed that. Satisfying my creative outlet helps me in all I do, and she is also inspired by doing our photoshoots. Angela always brings it, and I am so thankful for our friendship and great working relationship. New adventures are always fun!

Models and talent agencies are not always predictable as far as supply and demand, who they sign, etc. Pretty has little to do with it….it’s about the look that goes with the commercial or fashion style of the ads they will be working, clothing they are modeling, etc. Sharpness of facial features and proportions are the most dominant factor. One agency may or may not have a need for more talent of a certain look, proportion, etc. when another one might. This is why it’s best not to get impatient, and do your shopping for an agency that will sign you, that you have been referred to by someone you know. The look each agency wants may vary, so that’s one reason it’s best to find your agency before hiring a photographer to do your headshots and model portfolio images if applicable.

Another reason is that for teen models especially, showing up to an agency with professional photos may make you look prepared and show effort on your part…..but it can also scream stage mom to the agency, which is not good. Sometimes first submitting amateur photos, otherwise known as Polaroids, may be best for teen models especially, until signed. The stage mom stereotype isn’t always true, but it’s just how agencies often think. Their concern is sticking their neck out to their clients and for it to turn out their talent isn’t very dedicated and it’s really their mom pushing them into modeling or acting. Once you find your agency, they will tell you what you need……then it’s time to hire the right photographer who shoots the style needed. Assuming commercial headshots are needed….a photographer with good clean work and lighting skills, who has a commercial style is the best bet. Don’t sell yourself short by hiring a Craigslist jewel who really has no understanding of what you need, just to save a few bucks. What you get will likely be useless. What you see in their body of work represents what you will get. Also watch for bad Photoshop like oversmoothing skin, over whitening teeth and eyes, HDR attempts, selective color, mixed saturation, etc. All that is useless for agency headshots and other agency model portfolio work. Good luck!!

With a model so nice, I had to feature here on this blog twice She’s a new model, and is getting used to camera time, and learning expressions, angles, etc. So….there’s no teacher like experience and doing it, and enjoying it in the process. We did our modeling headshots to get her ready for some Nashville agencies, so after that we just did some funny more expressive photos to help her with range of emotion on camera, and characters are welcome here too   It’s fun for me as well. I helped her bring out those different expressions, some of which were encouraged by random conversation which sparked those emotions / expressions….that makes it all look more real and less staged / forced. One key part of being a successful portrait and headshot photographer is bringing out those genuine moods and personalities. So even after the amusing photos, we decided to have a little more fun with it and give her some camera time….and give me a chance to use this building that was gutted, before they finish it. The fuller body photos, and me working with her helped her know better about angles, twisting and bending of the body, position of arms and hands, etc. With time, she’ll only develop even more of a knack for it. This was an important start. The main thing is helping bring out the aptitude and being able to take direction on set, or in time, know what direction to go if needed.

So, now off to the gutted service station / car lot. The textures and walls, and open roof /windows really introduced some nice available light. Natural light was all I used…..it was a perfect overcast day, maybe 60 degrees, and we weren’t supposed to be there in the first place, so we didn’t want to make spectacles of ourselves by bringing lighting in there, LOL. First I made sure the building was structurally safe for her to go in and looked at the floors to make sure there were no hazards. All was pretty clean. But this was an important opportunity not to miss….the building would only be in this state for a short time. I shot at F 2.8 with my 50 MM prime lens. That way there would be at least some shallow depth of field, but not as much with a longer focal length lens….but this lens was perfect for the size of the area, and the depth of field I wanted. We got to use the walls and textures to help her incorporate poses, as well as to make it a dramatic part of the photo. For an added bonus, I had my old Canon 35MM SLR, which also had a 50 MM 1.8 prime with an FD lens mount. I will share a sample of that as well….good old Tri X 400 speed film, manual focus the whole shooting match to bring some retro into the shoot and capture her lovely dress in more vintage flair…..she took one for the team that day by stepping out of her element, risking getting her expensive dress dirty, and being chilly. (I told her wah wah wah and to suck it up, it was like a Spring day, LOL) and she did, but it was a fun day, and everything was done for the love of the photo.

The digitals.

And the 35 MM

I can remember the first time I met with Alex and her mom to discuss getting her started with modeling and finding an agency….some time has passed and they have become dear friends of mine…..school happened, college is happening, but she’s ready to make the leap. The first thing I explained to them is that she will need to attend open calls at different agencies.  That way they can learn how each agency works, which would be the right one for them, and which ones has the greatest demand for her particular look. Here in Nashville, agencies are geared towards commercial modeling and acting, as opposed to fashion that the larger areas cover, in fashion hubs like LA, New York, Europe, etc. The main ingredient is a good clean and well lit headshot, and a resume’ . I advised her to steer clear of the agencies who try to send her to a multi thousand dollar “modeling school” What a bunch of utter bullshit. Models are born, not made. Being offered workshops / trainings is another matter, do what you can afford and what benefits you. It’s normal for the agency to take 15-20% of the income from the work they get their talent, and to charge some website maintenance fees annually, etc. But shelling out thousands with no guarantee of getting any work isn’t an option for most people. Nor a smart one. Sure, there is some investment required, but like anything, it’s about taking steps.

A good modeling headshot should have well done makeup and hair, but it’s best to have it be your regular look so casting directors know who they’re hiring. Investing in photos, hair and makeup, and wardrobe, as well as maintaining personal care are expenses and tasks models do have. Also they will have to make a resume’ and invest in bulk quantities of headshot prints / lithographs. It’s best to let the agency make suggestions where to have them done for consistent results of their talent. Also to ask them if further portfolio material is needed. Most of the time with young models, the headshots need to be updated as often as twice a year. It’s important to find this out first, because some agencies and photographers pad these “model portfolio deals” that can turn out to be fluff, and useless….and needlessly expensive. Not to say that you don’t have to invest in a modeling or acting career, you do. But it’s better to go in having done your research rather than get taken. Here is Alex’s headshot. Simple, yet a great representation of her look and personality. This is uncropped, there’s enough negative space left in the frame to crop to 8×10 / 9×12 successfully, boo-yah!

I recently had a client call me and explain to me that she was pursuing stage / broadway play acting and trying out in New York as well, and needed a theatrical headshot in Nashville, where she lives. The look she was going for was different from a commercial modeling headshot that you would use for Nashville based agencies. We stuck with a non distracting selection of wardrobe and jewelry, and light makeup, a little dramatic smoke around the eyes / lashes. The expression and mood to be subtle, yet mysterious, dramatic, confident, full lips, and somewhat flirty. Overall, a little subtle drama with what’s going on with her expression. I don’t get many of these, mostly commercial modeling headshots instead but this was a nice diversion and a different look which I enjoyed. Of course I provided it in color for submission use, but also provided black and white because it had the presence of a past generation portrait of classic film actors / actresses. I think I like black and white better. LOL.

When shooting headshots, it’s good to leave some negative space to allow for cropping that is specific size related, as well as being able to change composition if needed, depending on accentuating a specific feature as to where it is on the frame. Lighting in the studio was rather simple but effective. I went with a medium softbox just slightly above her about 5 feet away from her face, at maybe a 15 degree pitch downward. I did this so that she would get nice catchlights in her eyes, as well as a gentle shadow to emphasize her jawline, but I did use a reflector to her right, to help prevent shadows caused by rim lights from her hair. The 2 rim lights were for her hair, one with a 10 degree grid, the other a 20 degree grid….the reflector being across from the 20 degree grid. This also made one rim light slightly more dominant, and prevented flat lighting. Just a little extra dynamic for the photo. I will post both color and black and white versions. For this type of headshot, or modeling headshots, excessive retouching is not useful. It’s purpose is to translate how that person looks on camera, and what they really look like.

The best place to start is to know your demographic, and know your measurements, as well as requirements for different modeling genres. Also see if that matches up to your aspirations of modeling or acting. It’s going to be different here in Nashville than in larger markets like Los Angeles or New York, or even Miami. Those are some of the major U.S. hubs for fashion…..what we have here is a lot of commercial modeling and acting with our agencies….fashion is breaking it’s way in here but in no way matches the larger markets. What I mean about doing research, there’s no need to show up at an agency casting if you’re 5’3″ and are interested in fashion modeling. Fashion models have a very specific look. They are “human clothes hangers” when modeling….the females are 5’9″ and slender, and generally have sharp features, great skin a must. Pretty is irrelevant, you meet the criteria or you don’t. Commercial modeling is specific as well about proportions and facial structure, may vary by market so I don’t want to speak too generally. Commercial models are often more animated, 5’7″ or taller, and have jawline, nose, and eyes are important as well.

The best way to sniff out an agency is to get recommendations from their existing talent. There are ways to network these days, laziness is no excuse. Also contact the agency and ask when their open calls are, and attend. Listen. Learn how that agency works, percentage they take when they get you work, what is required for portfolio or headshots, what should be on your resume’ or bio, website maintenance fees (which are perfectly normal). Etc. Enrollment fees and expensive schools are a bunch of BS. If that’s what they’re about then I’d not consider that agency. Ask them how you fit in with their demographic. Go with your gut. A good agency stays busy, all the more need for them to be disorganized…..to me when they are flustered and disorganized, and non responsive that’s a bad sign.

And remember, pretty isn’t created equal. Pretty doesn’t earn you special entitlements. Don’t have an attitude or act like a diva……there are zillions of others who will quickly replace you. I’m urging you not to get taken by the above ploys……but do be prepared to invest in yourself, with wardrobe, hair and makeup stylists, photoshoots, website maintenance fees (to keep profile updated and listed, help pay for their website expenses), lithographs, etc. You fit their look or you don’t. Always consider acting even if you don’t fit in with their model requirements. Haste makes waste…..feel good about your choice and go in having done your research.

I treat it like any other genre of doing business. If you book through an agency, you call them. I’m a firm believer that business is done over the phone and in person…..though using other mediums in addition to that can also save time and be refreshing. For freelance models and model photographers, online castings are sometimes used, where initial contact is often electronic / email. I think that serves well to pan out details about the project and gauge interest before talking further. Many people like having written reference of the shoot and project details, which is fine…..but I have found that since I have required a phone contact number and brief conversation before officially booking the photoshoot, I have had more committed people, less flakes. Because those I weeded out, I saved myself a headache because of that.

I know the way a model communicates and manages a product has no effect on her on camera presence…..but it does indeed effect how smoothly the project runs…..or doesn’t run! The phone number does 2 things. It allows me to hear inflection in their voice as pertaining to our project…..I can more accurately tell if that person will be a team player or a waste of time to deal with. I stick to the topic at hand and keep it brief. Many models complain that people ramble on and waste their time, or try to build a personal connection…..weak and pathetic and it wastes their time, as well as phone minutes. Stick to the point and be efficient. There is time for friendly banter and fun at the shoot, while shooting a model portfolio or headshots, etc. The other thing that the phone number does is allows for another immediate method of contact, especially as the shoot draws near. For confirmations etc. and following up if they are late or lost, it helps avoid wasted time and scheduling. And if you don’t get a response to confirmations, you know to write it off and get someone else. It’s a form of accountability, that comes in handy. I’m not crazy about texting, though it is ok for brief things…..though when doing business or setting up a project for the first time, that’s not my preference. Inflection makes a difference in how you read things and leaves less room for error.

If the project where a model is needed, is commercial, it’s usually best to go through an agency, where there is more accountability. For some projects, freelance models can be great too, and that networking is done mostly online. When researching freelance models, I look at their look and their portfolio…..if they haven’t updated for long periods of time, or they are difficult to communicate with, there’s your red flag right there. Diligence is king on both sides….their work tells you a lot, and so does the communication exchange. If I read a bio that is chock full of demands, and I will not do’s, loaded with caps…..or demanding RAW files or disc of images on the spot, demanding the allowing of their stupid escort, or schmuck they met at the club last weekend, whatever, no deal….goodbye.

Seeing black lists that out a particular person on a bio, is one sided and a turn off. Letting your audience see negativity and ranting before communication begins will limit people that will want to work with them. Because that raises the risk of them being a drama queen. I’ve seen these black lists that address their dissatisfaction. For a model, their gripe about a photographer might be they didn’t like the photos, they got too flirty, or never provided images or pay, etc. The most common gripes a photographer might have about a model are being late or not showing up or calling, not looking like their photos, being tired or hungover, etc. Or just overall attitude problem. Unfortunately, it can happen on either end…..if you are consistently getting bad shoots or negative experiences, it’s time to look in the mirror and realize part of the problem is you, and your screening process! I would probably not work with someone who has black lists because I don’t want to end up there myself and they are obviously problematic if that list is extensive.

It’s sometimes human nature for someone to want to rant and build up an audience when they feel wronged, but in this case, even if you have a legitimate complaint, it makes you look unprofessional. Even if you are right. Plus you don’t know the other person’s side of the story, there may not always be one. These black lists are useless because often these conflicts are caused by poor project management or someone not paying attention to what they agree to. Bad communication. I communicate well with people before doing a project, and they know what to expect…..that doesn’t mean they all listen. I could have models starting these things about me, if I choose 3-4 or so images to retouch and provide to them…..which takes a lot of time in it’s own right. Yet some might be hard headed and think they are getting cheated by not getting all that we shot. I don’t work that way, and they may have developed selective hearing. Providing anything less than the best isn’t in my professional interest or useful to either party. Boom…..I get on a black list. Those who see the value of working with me know better…….and the person slandering people looks bad no matter who is right. Stupid idea. Sure, I have been disappointed with a few models here and there. But I’m not out to slander them. I will however privately tell people in my circle who might hire or work with them, what my experiences were and leave it at that.

I will never discount the importance of a test shoot, if it’s beneficial to my book, or for my own advertising, or for an ad campaign that I bartered with a vendor for…..as a whole, I don’t have a lot of time or need for them, but when I do, it’s going to be on my terms and will be fun, and no silly drama involved. Because if not, I will have an easy time replacing that person. That said, I’m easy to get along with and provide a valuable product for the model when I do it, and am respectful of them and their time….by me having an infrastructure in place, it brings out those who are more passionate about working with me and will do what it takes to get the job done, and weeds out those who would likely just waste my time. My resources and often expenses are associated with test shoots, so that’s a good reason not to take them lightly.

When setting this up, the first thing we discuss is what their needs are for this project, and we discuss all particulars. This gives both parties an opt out if our needs aren’t met. Also if their communication is choppy, spotty, or juvenile, I generally take that as a warning sign. I know sometimes models get gypped on test shoots, like not getting images from the photographers for whatever reason, and I know that sucks, I’m not unsympathetic to that. Diligence and researching reputation is important…..I know nothing is completely a failsafe method, but with anything, it’s better to go into something with both eyes open.

I have encountered some models trying to demand that photographers sign “their agreement” supposedly legally obligating them to provide images. Which is more worthless than the paper it was made from. That’s not how this works. Or those who demand their red rooster boyfriend be there as an escort. Another no go. I have access to my own assistants who are trained how to assist the shoot and handle the equipment, I’m insured. So, the my boyfriend will help ploy is a kind gesture, but not really a good thing for the shoot. Or demanding all the RAW files from the shoot, like in case I fail to provide. Another no go. First, most would have no clue what to do with that file format, and also I don’t release anything but the best of the shoot, it’s image and quality control. I understand the reasons for thinking this is a good idea, but it’s not the answer, and it will cost the model a shoot opportunity with almost any qualified photographer. If it’s happened sporadically, shame on them, tell your peers and don’t work with that person again…..if it happens regularly, it might just be you, and the choices you make. Choosing wisely is better than making everyone a villain.

All that said, as I accept tests, it’s with someone whose look I need, has a good positive attitude and is easy to work with, and has a common sense approach. If they understand why I do things how I do and are passionate about working with me, that’s a plus. I see a couple different trends that separate models with lacklustre portfolios, from those whose portfolios market them well. The lacklustre ones have many different images from the same shoot or look, with crappy or no retouching, and the intent to fill their portfolio in quantity. Then brag about how “many” images they got from that photographer…….the experienced models know it’s about how well a photo represents their look or skill, and they only have the best in their portfolio, with proper retouching. Lots of work goes into properly culling down the best images from the shoot…..as well as time consuming post production, so giving large quantities of images is not an option for me….. understand less is more and even very few quality images outshines the value of large quantities of ok images.

I don’t hire models as much as I used to, because the market for selling photos isn’t what it was……but if I like a certain model’s look and it works out, I still sometimes will. I often hire the good traveling models when they make their way to Nashville. When setting up that booking, we become clear on the project details, who will be present, example, assistants, stylist, etc. Also I make sure they know they are expected to sign a full model release and what I need them to bring, ID forms, etc. We agree on shoot times and discuss locations, rates, and I find out if they have preferences for refreshments, snacks, etc. Hey, gotta keep them happy and hydrated LOL. Not a difficult process, and generally I know when they aren’t serious or can’t be depended on. I always make sure we have each others’ phone contact info, and do a confirmation when they arrive into town before putting too much work into the planning and setup.

When they show up, I expect them to be freshly showered and well rested. That’s one reason I always make sure their shoot with me is the first of the day…..because if one thing creeps under my skin it’s having to perk up a lethargic model when it’s time to work. I know their work is hard, and physical, but this is a matter of respect for those hiring them that they don’t take on more shoots than they can do well…..this means allowing time for eating and sleeping and not partying the night before. I can’t say I know how to do their job, but when I hire them, I expect them to. Accurate stats, good skin, nails done, etc. are also important. But the biggest factors are showing up on time, and being well rested. With a tired model, it’s difficult to connect on camera and it’s hard for it not to show in the photos….either of those things will guarantee them to be kicked to the curb before the project is underway or finished and paid accordingly. Too many good ones to put up with that.

I understand some photographers’ reasoning for using a watermark or logo on images used on the web. To protect from theft or unauthorized usage by another party, for one….and to build a presence with their work, promotion, name recognition etc. Reasonable enough. I have used them in the past and am not against it….though watermarks or image stamps of any kind have no place in print work or portfolios. I have never been one for large or intrusive image logos, it really takes away from the visual appeal of the image and creates a distraction. However a well placed small tagline with your name, etc. is fine. I see it being in bad taste when it becomes too large, loud colors, distracting, and the first thing the eye goes towards as opposed to noticing the work itself first and foremost. Or when being placed anywhere in the subject area of the photo……it’s just TACKY! Now we’ve discussed reasons for it and ways to use it in a tasteful way.

Now, reasons against it. The exposure and name recognition argument is the best one in my opinion. As far as image theft….not a logical argument. Anyone who steals other peoples’ images or retouches other peoples’ images are talentless hacks. They can remove the logo without much trouble. On the other side of the equation, most web use images are 600-900 pixels on the long side. Not much you can do with any quality result to a low resolution image pulled from the web, as far as creative retouch work goes. Hacks will be hacks, image logo or not. Images I use on my site or on my Facebook page, etc. are seen by many, and they are representing my work since they are my pages…..so watermarks aren’t really needed, are they? I have used them in the past, small and subtle. The main reason why I don’t any longer use one on my images is really quite simple. Certain types of clients, which I am going after, find it tacky. Also when I had my designer create my logo as my company brand, that’s how I want to keep my company name written, with that logo. And my particular logo would have to be too large and distracting to use on web images, to be legible. And with it’s colors and shape it would be distracting on an image. So I’ve opted against it mainly for the branding reason.  And your work is what is largely responsible for being your own identifiable style.

Yup it’s true! Say that you shoot um, maybe 50 images for one particular look for your model or client. When you go through them, you find 10 that you think are good. Out of those 10, you think 3 are excellent, and 1 or 2 to be outstanding. Which is not a bad ratio. Most of the people burning up a 32 gig memory card on one shoot, generally have a bunch of the same shots. And a lower ratio, as well as wasted time sorting images and wear on equipment, all for what? But that’s another topic LOL. The narrowing down and culling process is very important, and should not be rushed when you don’t have to. I like to have several different looks at the photos and look at small details, such as eyes, hand placement, angles, etc. Even a slight difference can make one photo much stronger than another that is similar. Also seeking critique from respected peers is also a wise thing to do if time allows and there is no imminent deadline. This goes back to haste makes waste.

Unless you are making a montage or photo collection with specific looks, etc., narrowing down with ONLY the very best is prudent, and a better representation of your work. And most of the time the client or model does not need that many photos per look……only the ones that sell them best as well! It works both ways. So, in closing, I ask, why release those other 8 that are just good, when the 2 that are outstanding are what is worth putting your efforts into? Discussion welcome.

If you fit the criteria to be signed with an agency, that’s awesome! Do some research on your eligible genre, based on look and body type, measurements etc. rather than just approach them with no clue at all….this shows you at least made an effort to do your homework  but let them provide final answers. Attend open calls and find out what photos you need to get started, and pay attention to the overall vibe……if you feel like a number and your questions are rushed along or if they address things clearly. Also avoid agencies that require modeling schools that cost thousands…..what a bunch of BS, LOL!

Assuming you want to go the freelance route, if agency modeling isn’t for you, or if your height / measurements do not qualify to get agency representation, etc, like say on www.modelmayhem.com . Most there are all about trade. Which is fine, but a cardinal mistake many new people make are not selecting photographers who can shoot in their genre. Of course if you want fashion or commercial work as a model, you’ll really need to be agency signed if you want to get more consistent work. That’s if you qualify. Assuming you are trying to build a commercial portfolio, you’ll probably be unsuccessful finding someone to trade with who knows how to shoot commercial portfolios properly. The photographer who shoots glamour and over smooths skin and over whitens eyes will not be able to help you. If you’re going after fine art, or figure study work, glamour, etc. find those who you like who shoot it well…..trade is fine, but if you have trouble finding someone who can shoot what you can use, hiring the right photographer should be an option. Sometimes you have to invest to succeed. In the long run, if you run things like a business and present yourself well, you are much more likely for a good payoff.

Finally….another mistake I see many new aspiring models make, is listening to the wrong people. I offered a test to one whose look I really liked…..she said her friend who has been a model for a long time advised her to start with beginners first so she can learn and be ready for pros later. Her friend is a complete moron, and is basically saying pros should fix the bad habits she learned from novices later……I just responded and told her she received some bad advice there, and explained why…..nil. Oh well. Like anything in life, you don’t seek advice from unsuccessful people and expect to succeed. Just like you don’t seek financial advice from a broke person, you don’t seek modeling advice from a random photographer who isn’t making any kind of living in the genres he or she shoots……or from a model who has dubiously gotten a few promo gigs at a local car show. Advice to new models about bringing escorts, don’t get me started…..that will only cost them opportunities. This business is about common sense, having the look, and being willing to learn. And street smarts. Successful freelance models usually travel a lot, and have a good following, and know how to network. And they don’t bring escorts, not show up, or neglect inquiries. My whole point is not to take advice from BS’ers, but those who are working and succeeding, and making a good product.

I will address the types of headshots I do, though there are other types. Standard “just because” portrait / headshots. I do my best to bring out the personality of the person in the photos. Capturing their best angle and expression, often by talking to them and getting into their element where they feel comfortable….I guess it’s a tidbit of psychology. I also try to find their best personality and facial feature and bring them out together in the photo for more impact. Retouching should be subtle…..fixing some flaws is fine, taking away skin texture, tacky.

Modeling headshots are to be very dynamic. Capturing the eyes, skin, makeup, hair, all the features that make them a model. And the energy and mood that best fit their genre of modeling. As with any headshot, the lighting compliments the mood. This is what sells them to agencies and casting directors, so they need to be accurate yet flattering. If the model’s look changes, they need new headshots. Alot rides on these headshots, all the more reason not to settle for cheap. It’s obvious when people take shortcuts with bad headshots or makeup / hair. Heavy retouching a no no, if it looks nothing like the model. You get the idea about my idea of retouching.

Actor and recording artist I treat similarly as far as technique. The mood captured I base on their look, sound of their music, and acting work they want to be known for. Like if someone is very funny, I like a good light mood in the headshot. It can even go dark and soulful for opposites. Also depends on what they need the headshots to say, based on the specific needs of the project.

Corporate headshots I go for driven, confident, determined, yet friendly and approachable. No one wants a nasty rude realtor, yet they shouldn’t be all giggles and showing 5 inches of cleavage either, LOL! You want someone who is serious about their job and image, yet caring enough to be sensitive of the customer’s needs. A photo can be the factor that makes or breaks the deal. So again, doing it well is good. Many people in this realm do not like their photos taken, so it’s best to put them at ease, talk with them briefly about what they do, and get them to loosen up a little that way…..and be efficient, not take up too much of their time. Specific technical tips are covered in last article. Applying the sciences that make a headshot successful is what separates a photographic artist from a snapshot taker.