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Behind the Lens is a new series that allows you to learn a bit more about your favorite FYP Writers.  While we know your enjoy their articles, sometimes you just want to know what makes them tick!  We are pleased to provide that insight for you.

Ameena comes from a small town just on the outside of London, United Kingdom.  She will be 21 years old this September, and will have been with FYP for two years and a few months by that time. She currently lives in Bristol, in the south west, where she is in her first year of studying photography at university.

Ameena is a prolific writer and has published numerous articles about different techniques and genres in photography at FYP, but at the moment she is responsible for the ‘Weekend Photo Focus’  and ‘Weekend Photo Find’ which are published every Friday and Monday. She also publishes a monthly interview with notable professional photographers, which goes live on the 30th of every month (look out for this months featured photographer).

Her style is still in its developmental stages, and therefore very experimental. Portraiture is her strongest area, as well as conceptual photography, which is mainly due to her participation in the 365 project (in which she attempted to take a self-portrait everyday for a year). As well as that, she has a great love for creating surreal and dream-like images, especially as sometimes she gains inspiration from her dreams which can be very vivid.

As well as portraiture, she loves to photograph landscapes and different cultures, this stems from having relatives all over the world and being quite well-traveled as a child because of it.  One day, when she can afford it, her dream is to go traveling and discover all the hidden gems of the world,  just to take photographs.  Ameena also has a growing collection of film cameras, and loves to expose roll upon roll of black and white  film.

Recently, Ameena upgraded her dSLR from a Nikon D60 which was cherished and loved for many years, to a Nikon D7000 which was bought because of its greater range of features but also because of its ability to shoot video, which Ameena hopes to experiment with in the near future.  Her favourite lens is also a recent purchase, a 50mm F1.8 lens, which she fell in love with as soon as it was affixed to her camera.  Ameena loves to use it for her portraiture photography, and self-portrait series as it provides gorgeous depth-of-focus, she is rapidly developing an affection for prime lenses.  It was also the perfect lens for a recent series she did based on the cinematic style for a university project, which she also did an article on.

Ameena was introduced to photography in an unusual way; before she was given a digital camera for her 14th birthday, photography as an art had never crossed her mind.  She took her new camera with her to local gigs that she attended fortnightly with her friends, and started taking photographs of the bands that played.  Eventually, she was asked to take photographs for the company that held the gigs, so that they could show them on their website.  She did this for about three years, and during those years her skill in using a camera developed, and her interest became a full-blown love affair with photography, which to this day has not dwindled, nor does she expect it to.

As mentioned before, Ameena is in her first year, studying photography at university, and intends to become a famous and perhaps rich photographer one day, photographing for the likes of Vogue and I-D magazine.  Writing for FYP has given her the technical skill and desire to become part-journalist and to also has allowed her to pick up a variety of other skills to add to her collection and therefore up her value as a creative.  When she started university, Ameena decided to take it a step further by seeking clients and hopefully have the chance to work with real models and establish her name in the industry.  Yes, it is a slow process, but everyone has to start somewhere, fortunately for Ameena it is paying off slowly because  in December 2011 she did her first ever fashion shoot in which she shot some brilliant photographs, and had a great experience at the same time.

You can view Ameena’s most recent work on her Flickr and Facebook page, and her portfolio here. She may also be contacted by email to a.rojee@hotmail.co.uk.

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[ Editor's Note: This week's Indie Spotlight features the first piece by Hafez Kamal, who hails from Malaysia and joins our team with his knack for discovering new things about the world around him. Though he spends his days as a security consultant, Hafez has a genuine passion for photography, which shows in this week's Indie Spotlight. We hope you enjoy Hafez's discoveries! ]

They say ‘beauty is in the eye of the beholder’ and photography is about immortalizing that particular moment in a frame for others to see. This week’s featured photographer who has been a happy resident of Austin, TX (USA) since November 2007 has a different, yet unique take on Portrait & Art Photography.

Jaime considers himself more of a human behaviorist than a photographer. Armed with his trusted Canon 5D MKII coupled together with a 50mm f/1.8 lens, Jaime would do most of his photo shoots in natural / available light – only to use artificial (studio) lighting if necessary.

“There *must* be a palpable connection with the person in front of my camera.”

Point-of-fact, until/unless he makes that connection, he will not even pick up his trusted camera – “It is a deal-breaker”

Jaime strongly believes that anyone can learn how to take a photo of a pretty woman, wearing a pretty dress, standing next to a pretty tree; but without that connection, without a narrative, the photo is a lifeless disappointment.

“Learn how to interact with humans on a more personal level”. The people in his photos are not simply looking at the camera. They are reacting to the person *holding* the camera.

There is a *universe* of difference between these two things.

Once he has taken the shots he wants, the real work begins. It is not uncommon for him to spend an entire day in post-production for a single image. He has spent a week (or more) in post-production on several of his art pieces.

One such example is the book cover shoot he just did for Simon & Schuster Publishing. The shoot itself was over 16 hours and it is going to take 7-10 days in post to complete.

He was often told to possess an unparalleled patience.

Everything he does today is something he calls a ‘happy accident’.

Opting to learn everything on his own way, defined by his unwillingness to read the instruction manual.

“Just pick it up and learn as-you-go”.

Jaime does not believe in any photography ‘rules’; he believes such rules can and will imprison him, creatively.

Jaime admires artworks to the likes of Jacqueline Roberts and Patrick Demarchelier .

Official Website – http://www.ibarraphoto.com

DeviantART – http://jaimeibarra.deviantart.com

YouTube Channel – http://www.youtube.com/user/ibarraphoto

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When I graduated from The New York Conservatory for Dramatic Arts one of the very next steps was getting my headshots done.  As it is with all actors, it’s a bit of an involved process.  You spend several hours going blind on Google looking for a photographers work that you like, and who are in your price range, then comes setting up the consultation and meeting the photographer to make sure you are comfortable and click with them.  Personality and comfort is a big thing when it comes to headshots, or portraits, or anything else for that matter.

Headshots are the storefront of the actor’s business.  It’s their calling card, and can mean the difference between getting seen by casting directors or not.  Actors often bring a bit of pressure on themselves to get great shots so making them feel at ease is paramount. Headshots for Broadway and film are essentially the same nowadays so you don’t have to worry about specifics.

So before I get into the technicalities of headshots lets look a bit at how they are used and what the industry is looking for.  First off there is a subtle difference between NYC headshots and LA headshots.  LA tends to have just a hint more “fashion flare”, but the overall objectives are the same.   For this I’ll be focusing on NYC headshots, as that’s what I shoot the most.

There are generally 2 people that see headshots first besides the client (ex producer, director etc).

~Agents, are the people who are in contract with an actor to find them auditions, and are responsible for getting them to auditions that are “right” for the actors type.

~Casting Directors are the people who see all the actors’ auditions for the particular job they are casting for.  They often see tons of people a day, and often look for different things in a headshot than an agent.

Headshots in general are used as a way for agents and casting directors to meet the actors through their picture and get a sense of them and how to cast them. There are essentially two types of Headshots:

The Legit Shot: This shot is usually more serious in nature and is often composed of just below the shoulders to the top of the head, framed horizontally, it’s ok to cut of some of the head as well, they want to see the hair but it’s not about the hair.  In headshots coaching becomes of key component of the shoot. Headshots are about eyes and lips, the eyes could be spot on but if there is awkward tension in the lips it will throw off the shot as well. LA likes to do a light open mouth here and there, I say unless you’re going laugh keep your mouth closed…it’s up to you though

The Commercial Shot: This shot tends to be a 3/4 shot framed from the mid-waist or lower to the top of the head; shot vertically. It can ALSO be

framed the same as a Legit shot. I tend to shoot 95% horizontal than vertical, as it looks more like a film still, and commercial shots are usually happier, smiling shots. Just make sure those smiles are genuine, which usually involves massive amounts of wittiness

I try and get a look of great desire with a very very slight smile, sometimes no smile at all. Let’s be honest…sex sells and that tends to be the trick, getting the eyes to deliver that look of desire without going over the top. It takes a lot of work on the subject’s part as well as the photographer.  Some technical ways to achieve this is to make sure the subject is breathing into the camera, and lowering the chin slightly. When someone breathes in it automatically adds oxygen to the eyes giving them some life, and the subject should then have something going on in their mind.  This is where the subject play’s a crucial role; THEY need to be working just as hard as you.

The MOST important thing to remember in any portrait photography work, but especially in headshots…is that the camera PHOTOGRAPHS THOUGHT.  If they aren’t engaging the camera their eyes will be dead or boring…not the best way to get a job.

A few technical things:

You want to make sure you are showing them in authentic way, so no crazy makeup, not a lot of under eye eye-liner for girls (makes them look a bit older), etc.

Solid neutral colors for clothes tend to work best, and for women cami’s, and tank tops work well as it shows the neck, shoulders, and clavicle well, and these are all ways to tell a woman’s body type which helps out casting directors.

The longer focal length you use the more it removes distortion and flattens the image, which will represent your subject in the most accurate way to the human eye.  I’d say a minimum of 105mm is required and if you can go longer I would.  Almost all my headshots are taken around 200mm at f/2.8-f/3.5. This creates nice subject separation and bokeh.  It also gives the sense of the subject being in an environment, and also gives it a bit of a “film” look.

The camera likes angles, and the rule of thirds gets used a lot in headshots.  You don’t want to do a ton of posing but you can work a model into positions that work well in a tight frame and also help get that comfortable look.  Often times leaning forward, holding shoulders back a bit, placing hands on legs all this sets the body up in an “I’m engaging you” way which helps the actor mentally have those thoughts coincide with the pose.  Often achieving this isn’t as complicated as it sounds, and will happen fairly naturally with just some tweaks along the way.

Lighting

Obviously the most important thing when it comes to photography, and when it comes to people its paramount.  You can use natural light or flash or a mix of both.

I tend to like shooting outside as much as possible as it sets the actor in an environment and has the look of something you would see on film.  However, shooting outside presents it’s own challenges.  The weather has to be right, which is always the biggest issue.  Headshots have to be pretty well lit so shooting outside with no lighting tends to render pretty flat lighting with backgrounds that aren’t as dynamic as they could be, depending of course on the lighting conditions that day, sometimes it works great and sometimes all natural light is just dull.

To cope with this issue, most of my headshots now are shot using a combination of a reflector, and one SB-900 Speedlight shot through a softbox.  Occasionally I bring out a second Speedlight to splash some light on backgrounds to add a bit of punch to it.  This essentially lets you get control of the background and bring in the light on your subject, and the results are fantastic.  It also allows you to blend the ambient light with the Speedlights to create a very natural look.  You can also do some fun stuff for a bit more of a dramatic feel, which can be good for an actor to have handy.  Though more dramatically lit shots are not good as “everyday” shots for the actor, they can be useful in the sense that the actor can submit very contrasting images.

I typically shoot with a cloudy white balance and a ¼ cut CTO (color temperature orange) gel on my Speedlights.  The cloudy white balance tends to render skin tones in a subtle warm way, giving the skin a color and richness that is very natural and pleasing.  Using the ¼ CTO gel is also very important as the Speedlights I use have a very cool light temperature, so this warms the light up giving it a very natural, almost sun quality look and feel.  Under bright conditions the Speedlight is there just to add fill light and put some great catch-light into the eyes.  As the light fails is when I do a bit of the dramatic stuff.  You can also shoot with a very fast shutter speed to bring everything way down then light the subject and this alone can create some drama as well.

These little Speedlights are really fantastic for most all the portrait work I do, very portable, very powerful, and with endless attachments to soften and work with the light.  Strobist.com has some excellent articles about working with them, as does Joe McNally.  I learned a lot about using them well with these two resources and once you get the feel you learn more and more about different ways to bring Speedlights to life in a new way.

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[ Editor's Note: For today's feature, we're proud to host a wonderful guest article by make-up artist who hails from Trinidad & Tobago. His line of work is impressive and he offers a wonderful and a much-appreciated piece about working with talented Make-up Artists such as himself. Enjoy! ]

We live in a world where “Independence” is highly revered, but “Interdependence” is the best bet to maximizing one’s potential in the photographic arena. Model photography is never a “One-Man Show.” The final product that graces the magazine would have included an artistic collaboration of the photographer, Make-up Artist (MUA), Stylist, Hair Stylist and sometimes an Art Director and for bigger projects, the list can go on to include a wider range of artists e.g Lighting Assistant, Assistant MUA and additional Hair stylist.

If photographers are the memory keepers, then the MUAs are the ones who bring the “memory” to fruition. It is therefore imperative that all persons involved on a shoot be aware of the concept and the desired goal. This will not only save on time and money but make the entire experience more productive for all.

It is beneficial to photographers to have a basic understanding of the makeup process and its power to change a models look. This will help in giving clear instructions and also in having a basic idea of how to achieve the look required.

Let’s start with some fundamental knowledge of makeup through the application process.

1. Consultation – The model is asked about allergies to any specific products or ingredients that are contained in some makeup products.
2. Moisturize and Prime – The face is moisturized to nourish the skin and keep it supple and then primed with a Face Primer to smooth out fine lines while allowing the makeup to last longer without fading.
3. Concealer – Used to lighten any unusually darker areas, usually under eyes, corners of nose and corners of mouth as well as any other dark areas. As well as disguise acne scars and skin blemishes.
4. Foundation – Used to even out the skin tone or even alter it to a different complexion altogether.
5. Powder – Used to set the foundation. Without it the face would look very oily and it would be difficult to add upcoming powdered products and blending eye shadows and blush.
6. Highlighting/Contouring – The higher planes of the face e.g. nose bridge, top of cheek bones, middle of forehead and cupid’s bow (middle of upper lip) basically anywhere light would usually hit on a face first is Highlighted bringing those features forward. The areas where a shadow would naturally be cast such as the sides of the nose, below the cheek bones, jawline and the temple (sides of forehead) would be Contoured or darkened so that it can recede. This method is used to achieve dimension on the face so it doesn’t look flat.
7. Eyes –Played up with eye shadows, eyeliner (gives definition to the eyes) and mascara for the eyelashes, Eyebrows are also filled in. Eye shadows come in Matt, shimmer, crème and even as loose pigments ( pigments are coloured powder and can be used in many different ways e.g. as an eye shadow, mixed with a liquid, it can be an eyeliner or placed on lips as a lipstick) It should be noted that anything with a shimmer or frost will reflect light.
8. Blush – Used to bring balance to the face since typically the main features: eyes and or lips are usually played up. Blush can also be used to further contour the cheekbone, giving the face more definition or be used on the apples of the cheek to appear “flushed” as one would look naturally when blushing, hence the name “Blush”.
9. Lips – Lining with a lip pencil makes it more defined then filled in using either a pencil or lipstick and sometimes topped with a lip gloss, depending on the desired look. There are different formulas with regard to lipstick also, matte (which gives a flat non shiny finish) pearl (which has some shine to it) glossy lipstick as well as others.

The images of Ashleigh below show the results of makeup as outlined above.

Comparing the “before” image on the left to the image on the right, one can see how concealer and foundation have diminished the darker under eye area and freckles. Very natural contouring and highlighting takes her nose from being undefined to being more pronounced. While her eyebrows had a good shape, they were filled in a bit, the entire eye area pops now, with the use of eye colours, and false lashes. Her cheeks were given a slight contour and her lips are now defined and highlighted with a flesh tone lipstick and topped with a bit of gloss to add fullness and luster.

There are times when a shoot will require a model to have more than one makeup look. It is best from a MUA’s point of view, to start with the more basic of the chosen looks first and move toward the more dramatic looks as the shoot progresses. This way it takes less time to produce the desired makeup application as the MUA can either build on the existing look or even if the look is very different, removing element or completely removing makeup and starting over is not a lengthy and tedious process. Professional MUAs are distinctly aware that time is precious any shoot, especially on an outdoor shoot where the intent is to capture the image with specific natural lighting. The images above of Ashleigh were shot on the same day and just an hour apart, also in the order it is represented here. It was far easier to move from the first look in the middle to the more dramatic look on the right and saved on precious time as we were working outdoors and with natural light.

Good lighting is integral to a shoot and in getting the ideal shot. Artificial lighting can be used to cast stronger shadows to further enhance the overall look. Using Soft lighting and light diffusers can soften the overall look on the model, further enhancing the makeup look. It is a good practice for the Art Director, photographer and MUA to review the images as shooting begins to ensure the desired look is being captured so that lighting or makeup can be adjusted.

The images below are good examples of how makeup and lighting can transform a model. Ethan (the male model) is featured in both images with very different looks, the first being an edgy and strongly contoured look to strengthen his facial features. The specific makeup together with the intense lighting makes the image match the vision for that day. Consultation was key in achieving this objective. Then there’s the image below where his makeup is very natural and soft with a flushed cheek and the ideal soft diffused lighting, bringing a vision of calm and serenity we all set out to achieve on that day.

Some shoots that can be quite lengthy and makeup can start to look extra dewy and shiny on the model, especially under constant lighting. Lips can get dry and lose their luster due to exposure to lighting and wind.

The makeup should look the same from the first frame till the last shot is taken. One should be especially careful in this regard because editorial images and catalog spreads use multiple images that weren’t necessarily taken in that order or not even within close timing from each other. Even though the MUA should be monitoring the model during the shoot to ensure the makeup remains constant, in the interest of time the MUA may be prepping another model and may not be able to monitor the model as closely as they would like. Having the photographer constantly assess his makeup needs for the model would be of great assistance,, two pairs of eyes are better than one, especially when one pair is seeing the representative image in the camera.

The images below of Karina were taken at various intervals during the one hour shoot and her face has a consistent look throughout the entire process.

There are times the appearance of the model in person does not translate on camera, with certain features either appearing to be minimized or becoming pronounced. It would be great if the MUA (and Art Director if present) were to be allowed to see how the images appear on the camera or better yet on an external monitor. I recommend this be done as soon as shooting begins so that the MUA and or the photographer can make any alterations or additions before the shoot progresses further.

At times photographers and or the Art Director may give very specific instructions based on their vision and what they wish to accomplish. Sometimes, however, it is better to apprise the MUA of your complete vision and purpose of the photographic work so they can offer their best professional opinion on achieving the goal spot on. In short consultation and an atmosphere of open communication is the best way to have a productive overall experience. Knowledge of the MUAs process and an creative plan open to input will certainly enhance your future photographic endeavors.

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Have you ever seen weight loss pictures that seem astoundingly impossible? Here’s a new program that just came out with a very simple regimen, and it only takes 30 seconds of intense workout:

Though this picture may seem a little silly (yet typical of my darling husband), it demonstrates an important point. If you are a photographer, you are in the business of making people look good. You can combine posing skills with equipment techniques to work magic, without having to shed a pound. People almost always want to look thinner and more fit. “Can you take 10 pounds off me?” clients often ask. Here are a few tips that will help them feel you did.

I have plenty example shots of clients, but honestly, who wants unflattering pictures of themselves up on the web? So I volunteer for the sake of your learning (you’re welcome). Here are some casual shots my husband took of me that demonstrate a few tips I’d like to share. I had recently had a baby, so I already didn’t feel very thin, but let’s find out what tips to keep in mind to help your subject be happy.

#1. Don’t cut off in the middle of the chest.

If you crop the photo at the largest part of the chest, the photo will give the impression as if the woman’s body continues to expand below forever. Most women’s skinniest part is just below the bust—if you include that, the body will feel like it is continuing to get skinny below the photo.

#2. Practice good posture.

Having your subject pose with good posture will make his or her profile flattering. Find a discreet way to get him/her to have good posture—“bring your shoulders back” or whatever. It’s more flattering for both guys and girls.

#3. Don’t crop the photo off at the edge of an arm.

Just like cropping at the middle of the chest, if you crop at just the edge of an arm, it feels like the arm continues on, and is twice the width it really is. Instead, crop your image down the middle of the arm, making it appear half the size it really is.

#4: Small of the back

If you can show space between the body and under the arm, you are showing off the skinniest part of the upper body. You now have shown the distance of the body to not span from stomach to arm like in picture B, but to go from edge of rib cage to another.

#5: Turn your subject at an angle

Rarely will having your subject face you straight on be the most flattering angle. Especially if you’re showing hips—it’s our widest part!

There are many more tips to help in posing, but these should get you started in the right direction. Honestly, many of those before and after pictures employ a lot more techniques than actual weight loss! Eating right and exercising are great to do, but now the process of making someone look thin can be a bit less stressful because you know the secrets!

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I tend to shoot inanimate objects because I can sculpt them, pose them, shape them, and get them to do what I want (for the most part). I like control, but we all know that in photography, there are some things you just can’t control. However, if you know how to effectively work with people, they can be just as easy to pose as food or that tree that every amateur photographer seems to take pictures of.

There are a number of things a photographer needs to keep in mind when shooting, whether it’s a model for a fashion shoot or a couple’s portraits on their wedding day. Besides the camera settings and lighting, one thing that can transform a boring, stiff subject into a creative and appealing image is knowing how to pose them.

Do Your Homework

There’s a lot to say about previsualizing and conceptualizing a shoot, but nothing is more important than being able to plan ahead before the day of a shoot. In certain instances, it may be difficult to do so when you’re shooting on-location and haven’t had a chance to scope out the turf ahead of time. However, if you have done your homework about the types of images you’d like to attempt and achieve, it will make capturing the ideal photos a lot easier to come by. Check out poses and images from some of the leading photographers or top magazines in the area of photography you’re shooting in to get an idea on what is appealing to the masses or your target market.

Think Like Your Subject

It’s easy to get lost in what you’re trying to accomplish, but you cannot forget about your subject. Are they comfortable? Nervous? Awaiting direction? Make sure they’re relaxed during the shoot – otherwise, you’re going to have your subject stiff and rigid, creating some awkward compositions. If you’re shooting a model, ask if they need anything to drink or if the temperature in the studio is to their liking. If it’s a couple for an engagement or wedding shoot, they’re not accustomed to being photographed, so they might be a little nervous. Put them at ease by chatting with them or getting them to laugh, and always pay them compliments on how they’re doing. If you notice your subject getting rigid, don’t forget to simply get them to take a deep breathe and relax!

Communication Is Key

As with anything, communication is vital to a successful shoot. A common mistake I see a lot is when a photographer automatically expects the model to pose perfectly and understand what he/she is trying to accomplish. Always keep in mind that you need to express your ideas and concept effectively to achieve optimal results. In some cases, you may even need to communicate by getting next to the couple or model and show them by doing the pose yourself. Don’t be scared to look like a fool by mimicking the pose you’re after – it may even loosen up the mood and cause your subject to relax, which will help bring out the best in the potential images.

Have Fun!

Sure, you’re on a job, but don’t forget that photography is fun! You didn’t get into photography because you had nothing better to do on a Saturday afternoon; you have a passion for it and find it exciting. I know there are instances when I get in the zone and focused, which can make me appear irritated or pissed off when I’m really concentrating on what I want to do. That terrible cliché about smiling being addictive… well, it’s sort of true. If you put on a happy face, it will get your subject to remain calm and have a feeling that everything is sunshine and happiness, whereas doing the opposite might create a nervous subject. When you’re shooting a wedding, nothing freaks out the guests more than what appears to be a pissed off photographer. So turn that frown upside down and enjoy the occasion!

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As my business partner and I start up our wedding photography business, we figured we were in need of some head shots for our website. We ended up having a shoot with Alicia Griffin last Sunday, and the entire time, I was thinking, “this would be great to blog about!” Ok, I was actually thinking, “I must look like an IDIOT!” Nonetheless, I did feel like I should share my experience being on the flip side of the camera and what I learned about being photographed that will help me out when I’m taking the photographs in the future.

Comfort

Comfort is vital for your subject. I think it can go unsaid that if your subject isn’t comfortable, it is going to show in the images. Especially if you’re shooting a subject that isn’t accustomed to being photographed, putting them at ease will allow the images you’re taking to come out looking more genuine with natural reactions.

I have always hated getting my picture taken. ALWAYS. HATED. I’m highly critical of myself and my appearance at all times, constantly obsessing about how I look and making sure I’m presentable. Because of this extreme self-awareness, I tend to fidget and get nervous that the images won’t come out (because the camera doesn’t lie, right?). So it is extremely important to make sure I’m comfortable, which made me think about how I come across to my subjects. I want to make sure I’m aware of how I’m coming across to my subject and establishing a connection that brings out their natural selves and allows them to be comfortable in my camera. Giving them compliments to let them know they’re doing a great job never hurts, and it relaxes the subject and makes them more comfortable.

Directing

One thing that certainly contributes to a subject’s comfort is understanding what the photographer is trying to accomplish in his image. As an artist, we have concepts in mind, but it is up to us to clearly express to the subject what they are so we can achieve optimal results. If we can’t express out ideas, the subject is going to be confused and uncomfortable, and the images will be terrible.

While I was being photographed, we went into the day with no concrete ideas – just a walk around Old Town until we saw a point that we liked and shot there. However, this didn’t mean Alicia didn’t have ideas, and when she saw something she liked, she was able to give Andrew and me direction, and we were able to take that direction and run with it. Once the juices started flowing, you can see a significant difference in the images from the beginning of the shoot to the ones taken towards the end, when we were relaxed and had a better understanding of what shots we wanted.

Teamwork

The creative process and conceptualizing the shot is hands down my favorite part of the shoot. I love being able to come up with ideas on the spot and turning something out of the ordinary into a work of art. However, just because I think it’s a good idea doesn’t mean the client does. The subject may have ideas of their own and suggesting something they’re unwilling to do or not confident in attempting needs to be acknowledged and respected. If a subject is down for whatever I’m willing to throw at them, great! If they are not, I can’t force them to do what I want and must make it work. It doesn’t mean the images are going to come out terribly – it means you have to adapt and adjust, finding something in the realm you both are willing to attempt.

I have no problem attempting shots and seeing something I’d like to try with my camera, but after being put in front of a lens, it became very apparent to me that the confidence has to be there in myself first before I’m open to suggestions. I find the best approach is starting out with simple shots and eventually working your way up to the experimental items.

Enjoy!

The most important thing I have learned is that if you aren’t having fun, your photos will come out horribly. Plain and simple. If your subject is too busy “working” and not enjoying themselves, what’s the point? The images will be boring and they will most likely not work with you again.

I’m extremely laid back throughout most of the shoot, joking around and goofing off. I can be serious when it’s called upon, but for the most part, if I’m not having fun, I’m going to be bored and frustrated with the session. While Andrew and I were being photographed, the two of us and Alicia ended up with a running joke that got us laughing and having a good time. When you look at the photos taken from that day, you can tell we were enjoying the time by our natural expressions, and as a result, we’ll be more inclined to talk good of Alicia’s work (like blogging about it ALL. THE. TIME.) and recommend her to other clients if we’re unable to take on the work. Because I had fun during my shoot, I wouldn’t mind working with Alicia again in the future, and this is an idea that I want to bring to my photography sessions, which is why I end up with as many repeat clients as I do!

Even though most of us LOATHE being photographed, I encourage all of you out there who are thinking of creating senior portraits, corporate headshots, or any other style of photography that uses a human subject, to have your photo taken by someone else. Being on the other side of the camera will let you experience what your clients or subjects may be experiencing, and this could give you insight into how you want to treat your subjects in the future.

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This post contains artistic nudity that some may consider, NSFW

Model photography is an art, traveling and model photography is a whole different kettle of fish. Not being on your home ground may make you feel uneasy but with some careful planning you can overcome any obstacles real or perceived.

The Movement – a New York dance group shot in Federal Circle, New York City!

The Five W’s

Who, what, when, where, why and how? Answer these questions and you are well on the way to having a successful shoot. Planning is the most important part of any shoot. The old adage applies if you fail to plan you plan to fail, it really is true! I’ve seen many a shoot be bungled because simple obstacles have fouled up a shoot.

Model:  Irene shot in a room at the Luxor in Las Vegas, Nevada, USA

Who?

Who are you going to shoot? Choosing the appropriate models is key. You have a couple of choices, of course if you are working with an agency they will source and supply models for you to shoot. However,  if you are working on your own you have to source your own models with the resources on the Internet you can utilize a site such as Model Mayhem to source models. You have a couple of choices here also, you can either shoot Time For CD (TFCD) a common arrangement between photographers and models where you supply the model with copies of the images for their use as compensation for their services. Alternatively, you can pay the models for their services. In my experience if you are going to do a TFCD arrangement you should opt to source more than one model for a shoot as at times some models are not punctual or don’t show up.

Model releases are an important protection for photographers and should be executed prior to any shoot. A special model release should be executed for anyone under the age of majority. Model releases should generally, allow photographers to use the photos at their discretion, allow photographers to edit photographs and be non-rescindable. Model releases should also clearly state the compensation for the models services and have the signature of the model affixed along with their printed name and address.

Models:  Dennys and Paris – Holiday Inn, Saddlebrook, NJ USA

What?

You should have a concept of your shoot beforehand; this helps you to formulate the shoot in your mind so that you make sure to have all the necessary supplies to have a successful shoot. It is important to know what you are shooting so you have a suitable location. When you have your concept in mind you then shoot with a purpose instead of just randomly. Take your props along, ask models to bring shoot appropriate clothing.  Shooting a model just because they are attractive is a common fault as may gain you a reputation of being a Guy with a Camera (GWC).

Models:  Carla, Alexis, Mark and Paul – Blue Trees Resort, Orlando, FL USA

When?

Shooting times are more important for outdoor shots than indoor shots, if you are using artificial lighting you are free to shoot at any time. If you are using natural lighting you must conform to Mother Nature. Use popular weather sites to find out what climate is like what time sunrise and sunset are so that you don’t  travel to a location to find unsuitable conditions. Choose suitable times that are conductive to models being able to make the shoot in addition to yourself if you have to travel to a location. If you are flying in to shoot be aware of possible travel delays you can check the reliability of any flight at FlightZoo.  Travel arrangements are important and you should have contingencies when flying, if you are driving you have more control of your own destiny, carefully check Google maps for commuting times between all locations. I highly recommend a GPS also, I program all my locations into mine before I leave home!

Member of The Movement dance group in Federal Circle, NYC USA

Where?

When you have a concept of the outcome of your shoot you can then select an appropriate location. Indoor shoots can be done in a studio or an adapted studio, outdoor shoots are best done outside instead of trying to simulate the effect. If you are shooting with an agency they will source a studio for indoor  shots or the location for outdoor shots. If you are shooting with your own personal concept this responsibility now becomes yours. In my own experience I’ve found that a hotel room makes an amazing studio and there are no travel problems in getting there as it is already your hotel room. Residence Inns or similar properties are great because you have your own bedroom and also a separate living room which makes a perfect studio, including a kitchen if you want to simulate shots in a home. If you don’t have this facility in your location, make sure you source a hotel room with 2 queen beds because when it comes to time to shoot you can literally flip one bed onto the other so that you have more space in your room to shoot. The curtain at the back of the room makes a perfect backdrop but more importantly it makes perfect place to hang your own background on with the application of a few clips or even hairpins. Contacting the hotel directly can also be very fruitful, I’ve done this for various hotels and properties such as the Hotel Diva in San Francisco gave me carte blanche for the entire property, they excel at rolling out the red carpet to accommodate virtually any guest request. For  lighting you should carry a couple flash heads, I carry 3 Nikon Speedlights and a SU-800 Remote Commander and they are sufficient to overcome any lighting situation (although I use Nikon primarily, I believe the best choice of equipment is the one that works for you, I also own Canons and Olympus and use them all). You can utilize these on backdrops or even using the armoire with a couple of translucent reflectors wedged between the ceiling and the top of the armoire at 90 degree angles with a remote activated flash placed on the inside to form your very own softbox. However, if you are shooting outdoors in a location that you are unfamiliar with be sure to do your research online, I’ve personally used Opacity, choose unusual sites, nothing ruins a shot like having a tourist like image as your background. Do you legwork on the internet before you even leave home for the shoot.

Models: Wilber, Donna and Jorge – The Diva Studio, West Palm Beach, FL USA

Why?

Why are you shooting? Answer this question and it will help to make sure you have asked the model to  bring the correct clothing for the shoot (if this is not the responsibility of the Agency/Stylist) in addition to seeing if a Make Up Artist (MUA) is required. MUAs can also be source using online resources such as Model Mayhem.  Possible scenes you may shoot are: fashion, haute couture, swimwear, lifestyle to name a few. Swimwear models need to have a suitable body for other models you may be able to use a model that does not have an overused gym membership. For all models the face is important, source a model that is conductive to your purpose.

How!

Shooting persons is has it idiosyncrasies.  If you are shooting on location not only do you have to be a master of shooting the type of location but you must also be a master humorist and psychologist.  To get  the most captivating images you MUST engage the model, they must have not only the concept of your image but they must also get feedback from you as you are the only one that can see the viewfinder unless you are shooting tethered and displaying the images live on a PC.  You should look all around your viewfinder for spoilers in addition to making sure that the model has the ideal post and expression.  I’ve found that instead of telling models “smile” you should have a repertoire of humorous jokes to tell (avoid politics, religion and off color jokes).  You must do all this while having control of your camera so it is important to know your camera well.  Model photography is like a fine dance, you must have a symbiotic relationship with the model to evoke the best results.  It is like a fine dance and you will often have to mimic the pose you want to achieve while operating the camera.  Making that connection and giving feedback will improve your images tremendously.  Practice with a friend or a family member.

Models:  Alice and Chris – Foul Bay Beach, Barbados West Indies

Wrap up!

With all the above elements addressed the next most important thing is production of final photographs.  Models are always excited to see the final product and you should give them a date that you can   reasonable process the images in. Under no circumstances should you provide the RAW images to the model and only provide them to the agency if expressly requested. Providing RAW images to models shows that you have no pride in your work. You should edit the photographs and provide only those images that you truly feel show the quality of your work. Don’t feel overwhelmed, you’ll realize that the process of model photography provides a few more issues than any other type of photography, inanimate objects do not have egos/feeling so you need to be a capable photographer in addition to a psychologist. I’ll leave you with the 3 most important words in model photography: plan, plan, plan!

PHOTO CREDITS

Photos listed from top down.

3 “Model:  Edric Hunter’s Point, Queens, NY, USA”

6 “Model:  Carla – Blue Trees Resort, Orlando, FL USA”

8 “Model: Manfred train depot near Saddlebrook, NJ USA”

9 “Models:  Wilber, Donna and Jorge – The Diva Studio, West Palm Beach, FL USA”

11 “Model:  Alexis – The Radisson San Juan, San Juan, Puerto Rico”

13 “Model: Wilber – Train depot near the Davie Blvd Tri-Rail stop in Fort Lauderdale, FL USA”