Respect Your Models

Audi in the Woodlands

I recently completed a small project during which I shot with several models, including two very lovely ladies for whom the project was our first shoot together. During the course of the shoot those two models, as well as two of my regular models, told me how nice it was to work with me.  I have received this compliment many times over my years of shooting and I had really never given it much thought. After all, I’m a good person and I try to treat people well, so I certainly had hoped that shooting with me would be a “nice” experience.  The first model that said this to me during this most recent project, however, said it with such intensity that I simply had to ask her what she meant. Her response surprised me.

She told me she had recently worked with a photographer who continually commented about what he didn’t like about her body or her poses. He made snide comments about her weight, though in my opinion she has a very well formed and toned body; how he didn’t like some of her poses and generally was not pleasant to her during the shoot.  This young lady is one of the most pleasant people you’d ever want to meet. She has a gorgeous smile, is always ready for a shoot, shows up on time and puts great effort into giving the photographer what he or she wants. I’ve worked with her four times over the last year and she’s just a real sweetheart.  I’m shocked that anyone would treat her so.

Her story made me think about the photographer to model relationship and what it means to me. So when I received the next such compliments, I asked the question, “Why do you say that?”  In every case the model was able to tell me specific aspects of shooting with me that made the experience pleasant and an event to be repeated rather than to be avoided.  Two of the models also related experiences they had encountered with other photographers which made them unwilling to work with those individuals again.  Once again, I was surprised that these ladies would be treated with such disregard for their feelings.

Now, I certainly hope these photographers are the exception and not the rule. It’s certainly been my experience with the few other photographers that I’ve occasionally worked with that models are treated with respect though, of course, shooting with a group of photographers and models is quite the different dynamic than when a model and photographer are shooting in a one-on-one situation.  Still, it doesn’t benefit photographers as a profession or avocation when models are treated poorly by someone who professes to be a photographer.

I am therefore going to share my philosophy and process of working with models in the hope that it will help other photographers who may not have much experience in working with models, and specifically glamour models, in front of their lens.  Certainly not every person who reads this will be influenced to change the way they act towards their models.  The ones that won’t change probably treat people poorly because of their personality and their  attitude toward humanity in general. Nothing I, or the models, say will change how they treat others.  I’m betting, however, there are a few photographers out there that simply don’t know what’s expected of them during a shoot and are willing to consider better methods so that they get the results they want while ensuring the models will want to work with them again in the future.

On the Beach with Sierra

I think the most important thing to keep in mind when shooting with a model is that they are your collaborators in the process of creating the image. Yes, you’re setting the exposure, the lighting, choosing the composition and the depth of field, and perhaps even directing the model into specific poses, but without the model, what would be your subject? What element beyond the background, the foreground and the props would you have in your final image? You need the model, otherwise you would be shooting still lifes, landscapes, or bugs.

If you’re shooting with a model, she or he, as the case may be,  is most likely the subject in your image. If you want the most from your model, treat them as a dynamic partner in the creative process. Talk to them, listen to them, and consider any suggestions they might have for the image. If they are experienced, they already know the poses that make them look the best and they often have great ideas about what poses would work well for the image or scenario you’re trying to capture. Consider what they have to offer and make use of it as appropriate.

Models are people too.  Don’t treat them as simply objects or props. Many of my models have willingly put themselves into awkward positions, donned uncomfortable clothing, stood in the cold, soaked themselves in freezing water, and posed with sand blowing in their face while standing barefoot on a hot desert floor because they shared my vision of the final image. They also did it because I explained what I wanted, made sure that a comforting towel and robe, a hot cut of tea, a wet washcloth and a cold drink or a helping hand was available to them immediately after I got the shot. I always keep what I call a “comfort pack” with me when I shoot. It contains a robe and slippers for the model, a pack of wet wipes, mosquito repellant, a large towel, a bottle of water, a washcloth, lotion, paper towels, and a clean brush. Some items seldom get used and some items get used quite a lot. But, they’re always available if the model needs them. Most of the time, depending on the duration and location of the shoot, I have hot or cold drinks available for the model as well. Keep the model comfortable or at least aware that the discomfort will be short, and you’ll get far more out of your model than you could otherwise expect.

Encourage your model. I certainly can stand to improve in this area.  I often get so caught up in the techniques of the shot that I often forget to provide feedback to the model. I’m still working on this, but I do try to let my models know when I think a particular pose or expression is working. I use words like “great,” “gorgeous,” “beautiful” or phrases like “that’s it,” “very nice” and “terrific expression,” to encourage my models. What’s more, I mean it. If I don’t like a pose or an expression I don’t tell them I don’t like it, but rather I suggest another pose or another look. The idea is to keep up a positive flow of energy between the photographer and the model. Reinforce everything that is working and let what doesn’t work slide on by.  Keeping the model happy and encouraged makes the shoot flow better and keeps the energy high.

Keep your hands to yourself as much as possible. In most cases, it’s not necessary to touch the model. Talk to the model before the shoot and let her know how you give directions. I often demonstrate glamour poses to my models and I know it has to look silly for a person who looks like me to strike a glamour pose, but hey, it gets the job done and I can indicate to the model what I want without a lot of words or trying to push her around like a mannequin. Sometimes you do have to move a hand or an arm slightly, but before you touch the model, ask (and get) permission first.

Finally, and I think this is where a lot of photographers get into trouble, understand your model’s limits and don’t try to push them beyond what they are comfortable shooting with you. If in doubt, ask before the shoot or before you get to that particular sequence in the shoot. If the models indicates discomfort with the pose or the concept, don’t push it. If such a pose or concept is integral to your shoot, it’s imperative you discuss it with the model before getting her to commit to the shoot and don’t spring it on her as a surprise the day of the shoot. It’s always okay to ask about a concept, but it’s never acceptable not to take no for an answer and to try to push a model into an uncomfortable situation.

Models are people just like your sister or your mother. They can collaborate with you and help you create some wonderful images if you treat them right. If you don’t, well, word has a way of getting around and you may just find yourself unable to get anyone to work with you at all.

Lindsay by the River

Closing in on Year's End

Jenn Cavaricci - Wind Fae

It has definitely been an interesting year. I certainly managed to stay busy shooting with a number of lovely models throughout the year. I met several new models through the Unchained Girls and through a few workshops that I attended through various Meetup Groups.  One model I met through a workshop is Jenn Cavaricci. She was working with a model I work with often, Floofie, at a High Key Lighting Workshop. I won't call Floofie on of "my" regular models as she doesn't like the use of a possessive to refer to her (oh, did she get teased by that). In any case, I gave Jenn my card at the workshop and we subsequently worked on a few projects together and will wrap up a couple more in 2012.

One of the most important shoots we did was the Wind Fae which is the penultimate shoot in my Fae in Us All series. I had hope to shoot the final images in that series this well, the Winter Queen, but alas there has been no snow yet, so it's likely that shoot will also happen in 2012 as well. The earlier the better, I think.

I have a couple of candidates for the Winter Queen, or the Ice Fairy. Actually, I'm not sure what the final title will be, but I'm planning for it to be one of my best. I have a great costume and accessories collected for the shoot, and I've engaged a wonderful makeup artist to assist with the shoot, as well as a terrific location provided I can get there in the snow.

The two candidates for the shoot are Grace and Veronica. I've done test shoots with both and each would bring her own beauty and character to the interpretation of the Winter Queen. In all likelihood, who will be with Winter Queen will be a matter of opportunity and chance as it will depend entirely on who can be available and present when the first good snowfall occurs. It's been suggested I use both, and that may well happen, but we'll have to see how it all works out. That will end the Fae in Us All project, though I will resurrect it from time to time for paying clients.

I do need to wrap up a few shoots with models that are in the middle of a sequence for my Women in Chains projects, but I do plan on concentrating much more on landscape, nature and event photography in the coming year. I'm looking forward to wrapping up the projects and actually begin putting my books together for publication.

Project Wrap-up & Interviews

The Water Fairy

The Fae in Us All project is coming to an end. In the past three years, I've completed 31 different shoots in the project with 27 different models. Ultimately, best images from the series will be going into a self-published book featuring 28 models. There is but one shoot left to complete, and it will be the most elaborate and most challenging of the shoots in the entire series.

The original series was intended to be limited to the five essential elemental spirits (water, earth, fire, air and spirit) and the four seasons (spring, summer, fall and winter), but the models and I were having so much fun with the project, that it seemed to just organically expand into other Fae creatures. In the series, the models and I have expanded the project to include such wonderful creatures as the Danse Fairy, the Bubble Fairy, the Sand Fairy, a Woodland Pixie, and Waterfall Nymph, the House Fairy (the one that does the dishes and laundry when you're not looking - a truly mythical creature who never seems to visit my house), and many others.

Don't Mess with the Combat Fairy

Theoretically, the project could go on forever, and I may resurrect it from time to time just for fun or if a model requests it for their portfolio, but I do need to move my attention on to other interests and projects. The last shoot in the project (for now) will be the Winter Queen, the most regal and inspiring of the Faery. I've actually been trying to shoot this particular concept for the last couple of winters but, for multiple reasons, the shoot simply hasn't happened. This year, though, I'm doing extensive planning to make sure the shoot can and will happen.

Waterfall Nymph

I've recently completed interviews with 5 different models and one of those lovely ladies will be my Winter Queen. To some degree it will be the luck of the draw that determines who will be the lucky lady who gets to stand mostly naked in the freezing snow while I (warmly bundled against the chill) wield my camera and lenses to capture her portrayal of the queen of the season. By that, I mean, I have prioritized the models and when the snow arrives, I will work the list from the top to the bottom to schedule the model that is available for the shoot. Utilizing this plan, I hope to successfully complete the shoot this winter without the issues I ran into in previous attempts. I've explained this to each of the prospective models and they each seem to be quite amenable to the plan. Each would bring their own unique interpretation of the concept to the shoot and any one of them could exemplify the queen, but I will need, of course, to prioritize the model that best matches my vision of the shoot. With any luck, and with the planning I've done, the project will be complete within the next few weeks and I'll begin working on the layout of the book.