Briana Shaker adds a new article on having fun and getting the job done. It is good reading for photographers and models alike. More after the jump as they say.

I want to take a few minutes and let everyone know how much I appreciate the great emails and comments you are all making on the site. And to my workshop attendees, I can only tell you how amazingly humble it makes me feel that you come to the workshops. I work hard to make them pretty special. And the feedback seems to indicate that you feel the same way. Thank you.

I am preparing next years schedule and want to get that up as soon as possible. This week for sure… (yeah… we’ll see – ed) but know that I am on it.

We still have openings for Boston (1), Pittsburgh (2), Vegas (4) and Boise (2). The Toronto and Florida workshops are full at this time. Woohoo! If you are thinking about getting toned up for the holidays, come on down and join our merry band of talented photographers.

I want to link to a few articles that I have been excited about on other blogs.

A Photo Editor has a wonderful interview with Sam Jones, and editorial portrait shooter.
Sam Jones Part 1
Sam Jones Part 2

Heather Morton’s Blog is just a fantastic source of great information. This post on Email marketing by photographers is a great read.

David Hobby (Strobist) has a timely article on creating a color pallete for your work. It is something a lot of photographers don’t think about, but they should.

Selina Maitreya’s audio book is now available on her site. Wow… it is a fantastic look into the world of creating a kick-ass portfolio, finding your voice, and living your life with photography. Check out the free chapter and you will be sold.

And Robert Wright has a post on the use of digitally alteration and the news on his great blog Wrighting.

BTW, my friend Kirk Tuck has a new book out, Commercial Photography Handbook: Business Techniques for Professional Digital Photographers, for those of you thinking about starting out in the crazy world of commercial photography. I will be reviewing it soon, but I think you should check it out as a great source book for the move into commercial.

Well, let’s get on with Bri’s great new article on having fun and being professional in front of the lens.

Say, “Cheese?” Please… Say, “Natural.”

“Amateurs focus on the model, pros focus on the shot.” – Don Giannatti

By Briana Shaker

As Don says, pros will focus on the shot, so if as the model, you’re bringing the “cheese”, it’ll disrupt the shot. It’s about blending or contrasting with the environment, harmony or disharmony, but never amateur. For instance, if the shot is comprised of some form of architecture with numerous vertical lines, the model can either stand tall and reflect the image, maintaining the shot’s feel or work horizontal or angular lines to create a disjointed shot, making both aspects stand out so it “pops.” But the amateur? The amateur smiles likes she’s on vacation. Just think of the stereotypical “ignorant American tourist” complete with Hawaiian shirt, camera, and straw hat. True, he stands out. But not in a good way… he’s best… behind the lens, right, Don? Or even think Florida. Spring Break. Drunk girl. Big smile. Good for MTV, but not for the runway. (You got a problem with Hawaiian shirts, kid? –ed)

In front of this bush as a design element, the photographer wanted a lot of lines to break the symmetry.

Socialization

Now why do we act so cheesy when first in front of the lens? Simple. It’s natural. It’s how we were raised. Our parents pointed a camera and said, “Smile!” And thus we smiled. We’re conditioned to behave this way. A philosopher I once read wrote that we see the world before we name it. And it is those names that label or place something in its category. We see a camera and we say cheese. Conversely, we want to be models and we see a camera and we exaggerate our looks. But which is right? Or is there a better place? Somewhere in the middle? Or… is it as I suggest? A chameleon effect? That effect where the professional model knows how to blend and how to make something stand out. Yet, how does she do it?

Having Fun with the Moment can loosen everyone up!

Au Natural

Now some shoots, like high fashion, demand such exaggeration, but, equally, some shoots prefer that “girl-next-door” look or the “lifestyle” image to gain a desired effect. Yet those shots never really seem natural do they? You really think that woman in the Wal-Mart ad hangs out with her friends in their underwear smiling at each other? Sorry guys don’t hate me, but we don’t. But it works. It blends with the environment created in the ad and it plays on stereotypes to stand out and thus get a desired effect… you to buy the product. The point is that modeling is seemingly anything but natural, but a good model can train her self to do it… naturally. Because it actually is something very basic and something we all already know how to do. Make sense?

Here we are being silly in a coffin in Jerome, Arizona

And here we are being a bit more serious in the image. Jerome, Arizona

Retail Clerks and Baristas

Now some people really do like their jobs and are naturally cheery, but… we know it’s false… no one is that happy. But we can still learn something here. The clerk or barista gets us to buy. And we expect them to be overly happy. They stand out. But we remember the coffee, not the guy who whipped our latte. So they blend too (metaphorical joke intended.) That’s natural. The clerk is what we expect, annoyingly there to start us a dressing room, but that’s where her role leaves off. We still have to try the stuff on. The barista is there to wish us a good morning, but doesn’t come with us to make sure it is truly a good morning. But they are what we expect and what we want; a natural part of the process. They got us to look at the products and thus buy.

This ad for Apricot Lane called for me to be a bit more aloof.

A model is the same. We’re there to sell a product. Early in our careers we’re selling ourselves in the portfolios we create for agencies to view. And later, we’re there to sell the product our agents set up for us to sell. For instance, I just finished a campaign for a gum manufacturer. Will my name roll in the credits? No. I was just paid to bring attention to the product. To get potential customers to look and then get them to see what I have to sell. And I did my job well. It comes naturally.

In these ads I was to act like a Volleyball Player in the middle of the woods. It was an ad that focused on not using up natural resources by using software instead.

Model Naturally: A Guide

• Environment – the set – what is it? A Zen garden? Then feel it. Be Zen.
• Assumptions – the theme. What is it? Zen? If so it makes you think of Zen’s purpose in our lives. Most people are stressed and need a moment of happiness. Zen offers happiness. If it’s linked to the product. Then show that connection. If chewing gums leads to Zen… show it!
• Curiosity – it’s a natural thing. So use it. Let people formulate their own opinions… well, opinions you lead them to see through your manipulation of their assumptions. If your look arouses curiosity in the viewer, they’ll look at what you’re doing. And want in.
• Draw Attention to Self – seem a part of the experience. Be one with the set, product, and theme. If you’re part of it and seem that way, it’s believable. So act the part… believe you’re there.
• Draw in Viewer – make them feel as part of the experience too. Let them know if they have what you have, then they too will experience what you experience.
• Know the product – knowledge is power. The more you know about what you’re selling the more you’ll be able to sell it. It allows you to enter the world of the individual that is using the product. It’s hers. It’s yours. And soon… it will be the consumer’s.

Fashion is Exaggeration – Naturally

Yes, fashion models stand out. But that’s natural. When we buy clothes it’s not because we want to hide. We don’t shop at ninja stores, seeking the best camouflage for our night out clubbing. No we shop for the look that makes us “look” good. We want to stand out. We want to be seen. Now how does a model do the same? If she just wore the clothes would we see the clothes? Or do her exaggerated poses make us pay attention to the lines of those clothes? The colors? Do we see the product and not the model? Quick test: open your Victoria Secret catalog. Turn to page 7. Look. Now shut quickly. What color was her bra? What color were her eyes? Gotcha



In Nova Scotia, Don and I found this great bridge. Contrasting the straight lines with lots of curves and attitude was my job. This was really early in the morning and it was chilly for us desert folk!

Conclusion

Nature is about adapting. Evolution if you will. And being natural is the same. It’s about evolving to meet the needs of the environment you find yourself in. The carnivore stands out and the herbivore blends. The model can naturally be both. It’s as simple as pretending we’re something other than what we really are… a process we are all quite good at: The world’s a stage and we all play our parts. Now go play yours, sell some stuff, and make some money



Just relaxing and being myself was the catalyst for Don shooting this series.

P.S. This article is dedicated to the Canadian photographers I met recently in Toronto.

Thanks Bri. Glad you are having a great time up in the Cold North.

Related posts:

1. Model Behavior: Shooting in Mexico. Some Thoughts Bri takes us on a look at some of the...
2. Model Behavior: Trust the Model She’s back – due to popular request. Briana has a...
3. Modeling the Light: A Model’s Role in Lighting ‘ Britney Spears “Kill the Lights! Don’t be scared, make...

She’s back – due to popular request. Briana has a new article on Model Behavior. She calls it “Trust the Model”. Thanks Bri, for the article.

On the Lighting Essentials front, it has been pretty hectic lately. I have several things to review and will get them reviewed as soon as possible for you all.

This month of August will see me doing a workshop in Seattle, an assignment in San Diego, a couple of product shots here in Phoenix, and the first ever Lighting Essentials Advanced Lighting Workshop. Very excited about that.

I am also starting to look at next years workshop schedule. We wanted to come to England and Spain this year, but scheduling needs to be farther out for that. I am planning on Bahamas, Panama, Canada and Alaska for some workshop dates, and if you have any ideas for me… well, bring them on.

I have started something I call LE Pick of the Day, which is a screenshot if a website, and a link. When I see something that’s really cool, I just want to share it with you all. This format doesn’t allow that. You can see my Pick of the Day on Twitter, and Facebook. You can subscribe to it at Posthurous. And my other little much updated blog is It’s What I Do on Blogger. It gets about 6 updates a day… photo and design mostly. Me grouching occasionally… heh.

I will be in San Diego doing a cool job that I will share with you all soon. Watch for my interview with Chris Bohnhoff on Monday.

Remember you can save 10% off purchases at MPEX if you use the link to the right, and be sure to visit my sponsors for your photographic needs.

Trust the Model
By Briana Shaker

Part I:

Introduction

Ever play that game Trust? You know the one. The one they play on business retreats and at personal development workshops? Yes, the cheesy one. “Trust me, just fall back and I’ll catch you.” Yeah, right. If it’s not in dance, the only person I’d trust if I was falling is me… or Superman. But since he’s make-believe, let’s make believe I can get by my trust issues if you can get by yours.

Yes, you.

Whether you’re in front or behind the lens there has to be trust. The model has to trust that the photog knows what he or she is doing. Further, the model has to trust that the photog wants the shots to look good and won’t do anything that may compromise the model or her work. It works both ways. Photogs as well need to be able to just fall and know that their models will catch them. It’s the essence of creativity. It’s the essence of photography. Letting go.

Control Issues

We all have control issues. We like control. Or even the illusion of control. Put a steering wheel and pedals on a roller coaster and the lines at Six Flags would be that much longer. I even know a guy who would be more comfortable flying a plane than being flown (he doesn’t know how to fly by the way.) It’s all about control. When we’re in control, the responsibility for success or failure is on our own shoulders; we have no one else to blame and… no one else with whom to share our successes.

How sad.

All of it is meaningless without someone to share those failures and those successes. We need an audience. Artists need audiences. There is a certain amount of trust even in that relationship. A relationship we often take for granted or, as often, just ignore. For instance, in dance, trust is second nature for me. The other dancers and I have similar goals, to perform for an audience. Thus all of us let go of our inhibitions and trust issues and just dance to make the best performance for our audience as possible. But outside of dance, it’s different. My goal, I soon realized, was to figure out why I can do it in dance so easily and how can I translate that skill to other fields. So far, it’s worked for me in modeling. Now… how do I learn to trust that the calories in a Carl’s jr. bacon-burger really will keep me as fit as the model on the T.V. commercial?

It has been argued that maturity is an acceptance of responsibility for one’s own actions. I like that. It makes sense. But it also creates problems. Inherently, such philosophy is self-defeating. It prevents trust, trust in others being responsible enough or capable enough to do their jobs. It’s like sitting in the passenger seat and constantly checking blind spots. After a while… It just hurts your neck.

Creativity and Trust

Creativity is about trust. To be creative one has to go beyond the bounds or limitations already established by others. The artist has to trust in his or her craft and in his or her audience to… “Get the point.” Sometimes that doesn’t happen though until after the artist is long gone and passed. That’s where the expression “ahead of the times” comes from I think.

Now this isn’t a discussion about art or what is good art, it’s a look at how creativity is enhanced through trust. And an easy way to see that process in effect is to go no further than the recent summer blockbuster, Transformers: Revenge of the Fallen. (Yes, I looked up the title. I just wanted to call it Transformers 2, but…)

Imagine being an actor in that movie. (Yes, they’re actors. Regardless of whether you think working with CGI effects counts as acting. In fact, I imagine it’s much harder to react believably to not yet existent effects. We models do it all the time.) But my point is about trust. The actors work about 8 weeks on the film. 8 weeks with often “non-existent” co-stars. These actors are putting a lot of trust into the crew behind the scenes to ensure that they “look” good in the final product. That’s a lot of trust for playing make-believe.

Now, imagine you’re the director. Your actors put in 8 weeks. You… you put in another year for your vision to come to fruition. Seemingly, the director has a lot more at stake. The director puts a lot of trust in his actors to pull out believable performances. And once they’re done, there is no calling them back to redo scenes. Film budgets will not allow it.

In the end, without the actors the director has nothing. And the actors have nothing without the director and the crew’s year long work. Each has to trust the other for there to be success. Each has to just let go of his or her illusion of control and trust that both want the same end result… great art (or, at the least, a lot of money

Letting Go

Art is about letting go. It’s about breaking the rules. It’s about being a kid.

On one hand, you need to trust in intangibles, like skill, instincts, and all the effort spent in preparation. But on the other hand, that hand you rarely use, you have to put trust in others.

Yet, how many times have you wished others had a little common sense? Well… common sense is not a great trait in artists. The problem is that too many people share the same sense. Imagine… without innovators we’d still think the world was flat.

Put it this way… by letting go of convention you can create new possibilities in art. One of those conventions is in not trusting others. But that’s where change happens. Another’s unique set of life experiences are brought together with yours. So if you set a shoot up and just trust in the model, the shot you want will be there, but so too will a number of shots that may change the whole way you’ve ever thought about your own work. Just in looking at a few of the pictures in this article, I’m sure you’ve already formulated some ideas for new things. You do it all the time. You’ve trained your eye to do so. But it’s important to realize that you too can find new approaches in your own work. Trust leads to mistakes, mistakes to experience, and experience to… greatness.

You can read more of Briana’s “Model Behavior” articles on the Model Behavior Categories tab above. Her website is BrianaModel.com and watch for her first book to be announced soon on these pages.

See you in a few days with a new article.

Related posts:

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2. Muse and Inspiration: The Model’s Role A Two Part Article By Briana Shaker Part I What...
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“Kill the Lights! Don’t be scared, make a move, see me now”

A model has a role in lighting?

What?

Unheard of?

Crazy?

Not so much. A model has to do more than smile prettily and pose, she has to be aware of her environment, from the objects in place to the light of the day (or those man-made suns, Stobes!) But it’s more than simply turning your face to or from the sun to get the photog’s desired outcome. It’s more than inspiration, performance, and range. It’s about awareness; awareness in the structure of lighting and how to get the best out of a shoot. It’s also about knowing how to handle the light and the photogs that use it. The following is a quick outline of the basics and a model’s response to the lighting so that she can generate the most positive outcome she can from the experience. (Note: This article is not about how to light, it’s about how models can use the light that photogs already have set up and how photogs can best explain to models what the photographer wants from the shot.)

(Editor’s Note: A Model’s Role in Lighting? I thought they were supposed to help carry the stuff. Now all the models are gonna read this and no one will ever help me carry the gear again. Sheesh.) Anyway, make sure you visit the tech sheets to get caught up there and remember that the workshops for 2009 are now posted… at least the first half of the year.

Well on with this fantastic article by Briana.

Main Light Awareness:

Main light? What is it? And why should a model care? There’s the sun and then there’s strobes (which, for this article, can include light boxes and umbrellas.) There are also both at the same time. That’s about it. The sun or strobe is the main light and the model should always face the light and then adjust to the photog’s wishes. Sound simple. It is and it’s not. For instance, remember Poltergeist?

“Don’t go into the light, Carol Anne.”

Wrong. “GO to the Light, Carol Anne!” That’s right, look to the light. It’s the sun, the center of a model’s universe. Don’t fear it. Kill it! (Sorry, Britney, I’m adapting your quote to work for me.) That doesn’t mean look into the light, it means pose to the light.

Looking into the sun late in the day.

Watching and knowing what a beauty dish does keeps you turned into the light.

A model should center first on the light. Think of that as 1st Position. Now, as discussed in prior articles, a model now uses her range and performance to create art. But that range and performance has its limits. This brings us to 2nd Position, Light Awareness. The choices a model makes when performing must act in accordance to the light. For instance, ducking down, under the light (which the photog spent hours setting up to get the best shots) would be bad. Keep your performance in the light. The spotlight shines on you, so make sure you’re always its central focus.

The sun was nearly on the horizon so I thought of it as a beauty dish.

Mainly, just keep in the light. Shadows are the yin and the yang, the dark and the light, they can equally create havoc as they can contrast with the light and form emphasis. For instance, some pictures of me used shadows to emphasize my nose, or lip, or chin. I liked them a lot. Whereas there are other shots that create features I don’t have and are less than flattering. Not my cup of tea (heh heh.) Yet, it is a photog’s responsibility to direct the model outside the light if that photog so desires. So models just need to continue in 2nd Position (moving with the light) until the photog directs otherwise. It’s simply because, like the yin/yang symbol, shadow/light can equal creation. So 3rd Position is ‘Roll with it.’

Light Changes Constantly – The Sunlight Challenge

Knowing that the photographer wants the light to be at a specific angle to you helps your posing ideas as well.

Light changes constantly – So must you. Not the whole Darwinian adaptation thing, but in changing positions to follow the light. Mainly this is important when using the sun as the main light, for in the studios an assistant will follow you. But in the sun, follow it. For instance, during one workshop in Tucson we were shooting on a street using the setting sun. But the challenge was we had to keep moving in order to keep the sunlight as the main light so every participant could get the same shot.

The sun was going down behind me, so we kept moving forward to pick it up for backlight. I was always watching where my shadow fell so I could be in the light for the photographers.

Now we all know that not all pictures are taken directly under the sun. In fact, many good ones are taken using the sun, but as filtered by other objects. For instance, a tree’s leaves create both dappled effects and larger spots of light from that which leaks through to the ground. Now a model under a tree must make sure to step into the spot with the most light. This is for shots where hair is important. It’s obviously not going to affect the model’s face, unless, of course, she looks up into the light – which can generate a nice effect as well. (But I must stop there, because that enters more of the complexities surrounding the photog’s job, and I’m here for the model :p). Now why would you want your hair highlighted? Maybe you don’t. But it does give a cool halo effect and therefore knowing what it can do will help you add to your repertoire.

Here the photographer used the sun for my hair and a reflector for the light in front.

Another trick I’ve learned is how to stare into sun. Sort of. The trick is to pick your time. During that magic hour as the light is fading, many photogs like to get a picture of the model’s face (it makes the eyes pop and adds a pretty color to the skin.) The light is perfect. But we models have to stand there staring into the sun and not blink or get watery eyes. My trick is to stare into the distance, facing the sun, but all while looking into a dark area, shadow, or whatever. It helps. Honest.

Here I look into the rising sun.

And here I am intently gazing toward a setting sun.

Secondary Light:

Nothing really to worry about here for the model, the secondary-lighting assistants adjust to the model’s moves. Yes, that’s if there are assistants. If there are no assistants it just means more work for the photog. But occasionally the model might need to hold a reflector to help. Yes, occasionally. But the photog will move the reflector – the model just has to pose like she’s posing for headshots. (3rd Position!)

When the Light’s not Right:

When the light is bad, just get in 1st Position and face whatever light is available. Now it may not equal the best shots, and a model’s portfolio may not expand, but the model’s a pro and should just do her best to get the best out of the moment. It’s professionalism. There are tricks of course, but here’s where it gets awkward. Most of these tricks rely on the photog making adjustments and the model is rarely in a position to tell a photog (the director) what to do. Simple tricks without the photog entail make-up adjustments (use lighter eye shadow colors to reflect what light there is), pulling the hair back to lesson shadows (or pin prior to shooting), and tilting your head to catch what light there is.

Keeping my head up lessened the shadows under my chin.

Talk about knowing where the light is… LOL. The photographers let me see what they were doing on the camera. The light I am “holding” as actually on the stairs behind me.

Handling the Photographer:

As I just wrote, the photog most likely needs to adjust to the conditions, but may not know how. A good model should know as much about the craft as she can and thus can offer advice. (Rule of thumb: Never open your mouth if you don’t know what you’re talking about.) But when you do offer advice, what photog can get over his or her learned assumptions and listen to the talent? The good, the bad, and the ugly can. Photogs will quickly get over assumptions that models are just floating heads with bodies. They’re pros too. But that doesn’t mean the photog will enjoy being lectured by the model. Mainly, it’s appropriate to discuss lighting with a photog when you’re already in a strong working relationship. Otherwise, you may just create animosity.

I worked with the light to make sure my face was well lit.

Yet, sometimes a photog needs to be shown the light, to understand its importance. And thus there are a few sneaky ways to help a photog capture the best shots (or see the light.) For instance, if you understand lighting, don’t look at the photog, look where they should be shooting from. They’ll move to that angle soon enough. And the end results will reinforce the -ahem – lesson. Another way is to just tell the photog you like a certain spot or suggest something that you saw in a magazine and wouldn’t mind trying out (I’m always trying out shots, right, Don? Haha – teasing.)

We tried shooting with me upside down. It worked pretty well, but Don got pretty confused. That happens a lot.

Conclusion: So, models – Britney had it right. Kill the light. It’s nothing to fear. Now move and the camera will see you now.

Have I ever mentioned that I love to dance... and fly?

See ya...

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2. Muse and Inspiration: The Model’s Role A Two Part Article By Briana Shaker Part I What...
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Bri takes us on a look at some of the images she did on the Mexico workshop. We all had a blast and Mexico was outrageously fun. We had lots of photographers and she shot with all of them.

Before we get to the Model Behavior article, I want to let everyone know that Houston is coming up very soon. We are almost full for Philadelphia but have room for one or two more. Cleveland/Akron will be our last workshop this year. We want to get going on getting next year’s workshop schedule down and will post a set of cities where we are looking for hosts.

Don’t forget that Briana is also answering your questions about modeling and working with photographers at this page. Leave a question and get an answer pretty quick.

Now, on to the Mexico workshop with Briana’s Model Behavior article.

I call this picture, “Dreaming of Greece.” I had new shoes and a new dress that I picked up in LA just for the Mexico trip. But there, by the pillars, with the ocean and beach my backdrop, I felt like I was on one of the many Islands that dot the Mediterranean Sea. I was as tall as the pillar… in my new butterfly shoes!! I love my shoes.

Owwwww… sometimes a model has to adapt and sometimes it just hurts!! The water was warm. Which was nice. The weather was cool. Which was nice. The bathing suit was Nicky’s. Which was nice. But the sand pebbles were sharp!! Which was not so nice. But I went with it… and the results speak for themselves.

Celebrity status in the mansion!! Yes, when I posed here I was in my favorite skirt and felt like a celebrity on a private beach enjoying the sun… the hot, hot sun.

Maxim shot? Or maximum amount of shots in little time? We only had a few minutes of sunset so we had to hurry to get this shot. Here I posed as quickly as possible as at least 4 photogs shot and shot and shot. Maximum Exposure with Maxim Posing.

This was my shot! Hehe. Well, it was Don’s shot. But it was my idea… honest. Natural light. Close-up. Lots of crazy hair. And shot in B&W. I think Don brought my vision to life… don’t you think so to?

Part of dance is creativity and expression. Now this form is not technically a form in ballet, yet it still embraces the essence of the art. The location and the moment were what allowed me to feel so inspired. A crowd of people gathered as I moved from pose to pose atop a set of stairs, raised above the audience. I love what the light and shadow does to the overall shot as well. But mainly, the bathing suit is Cristina’s, the capture is Evan’s, and the ocean is Mexico’s!!

For more of Briana’s “Model Behavior” simply check the tag cloud and click on Model Behavior.

Related posts:

1. Muse and Inspiration: The Model’s Role A Two Part Article By Briana Shaker Part I What...
2. One model? No worries, it’s called Range! (Part One) Range beyond the ordinary: All the world’s a stage, and...
3. On Location with Small Strobes and a Model Who Can Fly? Let’s look at a way to create some interesting, and...

(This page will be continuously updated throughout the month of October, with newest posts to the top. We hope you enjoy this new column by our resident model/author. — Don)

Got a question for me about modeling, working with models, or anything related to being on the other side of the lens. Well, ask it in the comments below or post it on my Flickr Group. You can see my web site at BrianaModel.com. I look forward to answering any questions you may have. I don’t have to tell you to keep them appropriate, do I? Nawww… didn’t think so.

Before we get started, you may also want to check out the latest post by Don on lighting with totally natural light. We had some great fun in a little town called Miami and we used mostly the natural light for the images. I will be writing about that shoot soon, but you can see the article here:

Now, on to the first QandA with Bri… Enjoy.

Briana,
as you probably know best, there are several kinds of fotografer: some say next to nothing, some do peptalk all the time, some give you a story to work with, some are bossy…

Love,
Sam

Hi, Sam!

What do I look for in a photographer? What do I like best? Hmmm… well, as a professional, I learn to adapt to each style. You have to. Each photog does what he or she feels works best. And a model has a job to do. So I do it.

But… if I get to choose, I like photographers with vision. Vision means that the photog “sees” something that he or she wants to accomplish as an end result of the shoot. But the photog can’t do it alone. He or she needs the model to perform in a certain way in order to get reality to match the vision. To do so a photographer has to express that vision to the model in a style that works. But like people learn differently, models respond best to different styles, sometimes it’s dependent on mood. So essentially, the photog has to adapt as much as the model does; finding the right way to get the most out of the experience.

So I think that the best photog is the one that knows his or her vision and will do anything to get that vision out. If the model does not respond to one style, then pick another. Essentially, the best treatment is all styles (except “bossy” – I don’t like mean people.)

Briana,

You always look so at ease in front of the lens so I am hoping you can give some insight.

Thanks, Cody, for the question and the compliment

As for shooting a model, it depends. A professional (or even beginning) model needs certain motivators, as it’s always awkward at first… since you don’t know each other. After awhile you both become comfortable and it shows. For instance, Don, in our initial shots, would encourage me and guide me. It’s extremely important that you both talk to your model and that you are confident. It’s like you’re the director of a movie. Give the model the motivation, the story, the guidelines… the direction. And she’ll follow. A way to take control and show that you’re a pro early on is when a model asks you which outfit she should wear. Never say, “Whatever.” Instead, pick one. Tell her what you’re looking for. Let her become the character the shoot requires. Like photography is directing, modeling is acting. So direct her how to act and you’ll get some good shots. Remember too that with digital cameras, you can a ton of shots to get one or two great ones.

Now with amateurs (you know, families, friends, weddings, company picnics, whatever), it’s a lot different. But again… take lots of pics, one or two good ones will sneak in. The problem lies in that the people feel silly around the camera; it’s not their job, they’re not trained or practiced enough to distant. So the best thing here is to just take the shots. For instance, if they take a break… don’t move the camera from your eye. Say you’re just taking some test shots and that they don’t need to pay attention or pose, you’re just setting the composition. Lastly, some of the best shots out there are called “Lifestyle” shots. Get pictures of them doing normal things: walking the dog, putting on makeup, or even talking on the phone. Or, if at a wedding, add shots of shoes. Yes, shoes. Women spend a lot of money on their shoes and pedicures, so they’ll love to see the pics afterward… and you? You’ll have some creative art.

Briana,

I have been contacted by a photographer several times and he wants to do a shoot but he doesn’t have any ideas on what we will be doing. He says to just come over and we will figure something out. Is that normal or should I be creeped out?
Anne Model

Hi, Anne,

Well, it’s a first shoot together so there will be a growth period as you both discover how your two unique styles best fit. But… yes, BUT…

• Check his sites and what he’s done, it’ll show his style. If they’re all naked pics… be creeped out. Unless, you’re fine with shooting naked… but if you’re asking me this question, you’re probably not.
• If I like his portfolio, then I’d use his contacts and pictures (if he’s on MM or Flickr or Myspace), and contact a couple of the models and ask what their experience with him was like.
• Next, I’d ask him for a little bit of an idea of what he was thinking, since I’d need to organize a wardrobe for the shoot (I can’t bring everything! If you’d seen my shoe closet, you’d understand.) This way he’ll be forced to commit to something. Anything.
• Escorts. Not the Vegas kinds, of course. But bring one. For every first shoot with someone I bring an escort. And I keep bringing one until I feel comfortable. If the photog says no to escorts… it’s simple. Creepy.
• Last, but not least, if it feels too strange… it probably is. Trust your gut. Instincts are there for a reason.

Briana,

I shot with this photographer over a month ago and he won’t give me any of the images we did together. I was there 5 hours and he shot a ton of pics. Every time I call him he tells me he is too busy. What would you do?
Monica M.

Monica,

This is a serious problem. It’s one of the biggest problems with some photogs. It may be that the person is just lazy. He likes the process of shooting the pics, but isn’t one for postproduction. That’s the part that separates the pros from the amateur weekend shooters. Or maybe the photog is having personal issues and just lacks the tact to send an email. Or… and I hate to say this… but maybe the work didn’t come out as well as hoped. No photog wants his or her work out there if it doesn’t show off their talent. Lastly, off the top of my head, maybe he just hasn’t got to the pics yet for processing. So all you can do is wait.

Still, your question is, “What next?” Well, there’s not much you can do at this point. If you’re an established model with representation, let your reps handle it. If you’re still struggling then you rep yourself and you’re on your own to get the pictures. So, if it was me, on my own, and I was comfortable with the photog, I’d go and see him. It’s harder to put someone off when they’re standing in front of you. Eventually though you just have to drop it and chalk it up to experience. Then get famous and watch those pics surface in the wake of your popularity.

Briana,

How do you feel about taking ‘escorts’ to a photoshoot? My boyfriend doesn’t want to go every time and I am a little bit afraid of going somewhere without someone to escort. Most of the photographers I have met have been really nice, but how do I know which might be creepy?
Gabrielle S.

Hi, Gabrielle,

Your boyfriend? Doesn’t want to go or can’t? Does he know you’re a model? Does he know how lucky he’s got it? Well, he better!

Kidding. Modeling is tedious. Most just think it’s a simple process of smiling and posing. Click and done. Nope, its hours of hard work. And to escort someone means taking 4 – 8 hours out of a day to sit and watch or, in many cases, get put to work by the photog holding reflectors, strobes, etc. So I guess I can understand, but he better come to the creepy shoots (or better yet, don’t you go to the creepy shoots!)

Now which ones are creepy? Well, that’s usually pretty easy. They’re the ones that make you want to bring an escort. So for me, as a rule, regardless of if I get the creepy vibe or not, I always bring one to my first shoot. Better safe than sorry. If a photog says, no, or is uncomfortable with the idea… he’s creepy. Well, maybe he’s a nice guy, but it’s better safe than sorry. So label him creepy and move on. There are as many photogs out there as there are models. So move on to the next one and follow my answer to Anne Model on what to do with new photogs.

Remember, the escort doesn’t have to be your boyfriend. It can be your mom, best friend, or sibling. It’s always safer in numbers. And photogs are used to escorts. In fact, they often expect them to come… which is why they give them odd jobs to do. They planned for it. Why would a photog bring a giant reflector on a windy day if she didn’t plan on someone holding it? You can’t hold it. You’re posing. And the photog can’t. She’s shooting. So… escorts can come in handy.

Lastly, if it’s a well known commercial photographer, with stylists, MUA’s, several assistants and clients on set, a model would look very unprofessional bringing someone, anyone to the set. Generally if the job involves being paid, there’s wardrobe, a stylist, and an MUA, then a model shouldn’t bring anyone with them. It is certainly okay to have someone drop you off, help you with your bags and such, take a look at the studio, meet the photographer and leave, but not to hang around.

No related posts.

We are going to take a look at how we can use simple, natural light for some beauty shots of Bri on location in Miami, Arizona.

This sleepy little town has such great old walls and patinas to work with. That and the fact that it is about 12 degrees cooler than Phoenix made it a great place to go shoot.

But before we go there, just a note about some upcoming workshops: We are in Detroit on October 4 and 5 and then on to Kansas City for a workshop. We are also booking into next year, so if you think we should do a workshop in your town, drop me a note and we can see what we can make happen.

Here are a few images taken with totally ambient light, no additional light or fill cards.

We started working in the shade with some wonderful light being delivered from bright old buildings across the street. There were several white buildings and an old wall that gave a lot of fill back into the area where Lisa set up for makeup. I took a few shots of the MUA at work so you can see how the light in this area was so nice.

You can see the area where we were set up and the shade we were working in.

Notice the hair light that is warming up the right side of Briana’s hair. This is totally being ‘bounced’ from a warm colored building down the block a ways. I liked it and it made me want to shoot in that area.

For the above shot I asked Bri to look back at me so I could get an idea about how the light would wrap in that shady area. She is not out of makeup yet, but I do this so if I need to set anything up, I can get to it while she is still being made up.

Our first shot is Briana in the place where we did makeup, turning around toward the sidewalk so I could get the lit background to add dimension. Notice how her hair picks up the reflection of the buildings (specular) on each shaft, adding a wonderful natural hair light. There are no reflectors, fill cards or flash here, just the soft light from the brightly filled sidewalk area.

Our next shot is one of Bri in the shade of a north facing building on a two lane town street. She is right near the shadow edge, but not far enough out to pick up any hair light. I wanted a far more subtle look to this image than the bright hair light would have provided. There is still a ‘hair light’ look here and that is the reflection of the light above on the hair… tiny speculars of the source if you will. Personally, I love this kind of subtle, soft light.

Here is another shot from the same place, but this one is in black and white. Notice how the subtle shadings lend themselves perfectly to monochrome imaging. There are so many shades in this image, yet the natural feel is complimentary to the subject and the mood.

When shooting in the shade like this, I find that digital seems a bit flat. I use several very subtle masks in curves to bump up selected luminance and add contrast.

This last shot is also with no fill cards or flash. Right down the street we found this cool old gate. I had Briana in the sun there, and the sun was also lighting up the buildings where I am standing. I love the flooded soft wash of light. Of course the direct sun adds a lot of sparkle to the images, and I am not worried about ‘blowing’ those tones out as they are already in that realm… and the look is one that I like. Very ‘fashion’ looking.

When trying this type of light, make sure you don’t end up with very bright surfaces below the model. If that happens, like a white sidewalk, you could have low light… that is light that is coming up and causing shadows on the top part of the cheeks. Way worse looking than what the sunlight does coming down and throwing shadows under the eyes.

Also make sure that there are bright areas across from your model. If there are lots of dark trees and things as that would make a much more muddy scene. Everything reflects and a dark light source, which is exactly what those dark trees would be, is not attractive and will make your Photoshop work overtime.

More coming this weekend.

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NOTE: The Mexico Workshop and Houston workshops are just around the corner. If you are interested in attending one of these Two Day Workshops, take a look at the Workshop page. We have room in both workshops and they are going to be amazing. Briana will be going to the Mexico Workshop and will be working with the photographers there. Please don’t wait to signup for Mexico, there are only a few spots left. If you need help with getting down there, let me know. We can work something out for sure. Now, on with the Model Behavior article by Briana… Developing Range as a model.

Range Continued – A How to Guide:

Last article, we discussed how to expand a model’s range through 5 basic elements: Wardrobe; Roles; Makeup; Emotion; and Environment. This article continues with another six ideas. But please feel free to leave comments that include other ways you’ve found helpful.

6.) People – They too can affect how you perform. For instance, some of my favorite shots are ones with people in the background. There’s one I like with a couple of children playing behind me and another picture with a lady’s head in the frame contrasting with me covered in sand. But that’s not the only way people can affect your range. At shoots there are always a number of people around: some watching; some helping; some making you laugh. Each lets you mirror their feelings and thus express something you might not have expressed individually. So don’t be afraid to shoot with others around. Feed off the audience’s energy and you might just do something you never would have done without them there.

Notice how the lady on the right changes the mood?

7.) Props – Guitars, boxing gloves, guns, saxophones, pool cues, chairs, and even birds have all at one time or another been a part of one of my shoots.

Fly, my pretties... and get their little dog too!

8.) Themes – Pinups, dancing, fruits, colors (or just one color), bathing suits, weddings, stickers, and hats. Each one has let me try new things and both develop my range and my personality.

9.) Location, location, location – Back to environment. It too can work like props or themes work. Simply by finding an interesting location to allow one to try something different will help both model and photog. As for me, I’ve stood in front of “tagged” walls, textured buildings, weird statues, signs, windmills, sunsets, an old jeep, archways, cacti, and doors. Each one has allowed me to either be the object by mirroring it or contrast with it by opposing it. A statue of a sphere versus a model with arms at angles is different than a model who hunches herself into a ball. Just create shapes with your body. But even better, by contrasting your wardrobe to the location you can change the meaning of a shot and also try new things. A model in a wedding dress in front of a textured building has a totally different feel than that same wedding dressed model in front of a “tagged” wall. Ya follow?

Architecture versus the model

10.) Music – One of my favorite things. I love music, from 80’s bands to Top 20, from country to ska, and from alternative to Marley. But when I’m shooting I like to listen to something that either reflects or contrasts the theme. A tango dress is great with tango music, but it’s equally good with any other type. Each will change how I act with the dress. With a tango, I’ll dance a tango, but with hip hop I’ll have a different mindset and perform differently. The end result could be quite dramatic or different and thus stretch my range and the photog’s.

Dance shot - The rhythm is gonna get ya

11.) Personality – Yes, I know, we all have different personalities, and to some one might have a pool cue as a prop and play pool, for others, they might become kung-fu bo staff masters. It’s all in who we are. So don’t be afraid to show who you really are… or you imaginatively could become.

Widening Perspectives:

Range helps the photog as much as the model, as both can enhance their portfolios. Further, from a business sense, the more range one has, the more marketable one becomes. It’s a simple premise, the more range a product covers the larger its market. Most drugs follow that premise (not often on purpose – for instance, Botox was never designed for getting rid of wrinkles), and like a drug, we models can be just as needed. It’s all a matter of range. As a model (or photog) embraces new elements, others will notice, while at the same time each gains valuable experience. That experience translates to more tools at one’s next shoot. But, to be honest, not all attempts at developing range are positive. There are a few test shots out there of me that I’d rather not see surface too often. But equally, there are a few test shots out there that allowed me to stretch my abilities and grow. And I thank all those photogs out there that let me be myself and… leap… or make goofy smiles!
“But, that’s all I got”:

What if you, the model, think you lack range? Think background. Find out what you do know in other places in your life… become that persona… if you’re a student, bartender, dancer, or a beer-league ball-player? Be it at a shoot. Like a particular movie? Song? Or book? Be the character. Act as he or she would. All professions, hobbies, and interests have skills. All have locations. All have themes. All have props. Get the picture? If not, I recommend Blockbuster. Just pick a genre and head to your next shoot.

Film Noir

Hey… it’s Don here for moment. Just letting you all know that Briana’s Dance Calendar is in production and should be ready in about 14 days. It is designed, and we are finishing the shooting this coming week. When it is ready, we will change this note out to a link for the dance calendar. OK, I’m outta here…

Conclusion:

Range is a concept felt in every corner of our lives. It’s just often hard to realize that it’s a translatable skill. If you have multiple roles in your life, like being a model, a student, a dancer, a daughter, a wife, and a chef then you’re already multi-tasking. You’re not just one of those things, you’re all of them. You adapt and adopt new roles and skills as needed. Modeling range is the same. Adopt and adapt. By so doing you’ll expand your portfolio and your photog’s. To start, just change a few things every shoot, from wardrobe to the role you play, from your makeup and hair to the emotion you portray, from your environment to the people around you, from the props to the themes and from the location to the music you use for inspiration. But most of all, embrace who you are, embrace your personality, embrace your background, and be… all you can be.

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We continue on with our free themes for your desktops. September is a strange month for me. I am getting tired of the heat here by then, and waiting for the cool nights to signal the end of the monsoon. However, we need the rain so I want the monsoon to continue for a while to bring that ever needed water.

I got to travel a lot recently and was in Seattle, Bermuda and San Francisco with little time in between. Because of that we are perpetually behind here. I have design and photography clients waiting for my time, and I want to keep the site up with two updates a week. There always seems to be something else for me to do, so there is no real free time these days.

So with the spirit of hurriedness and the desire for tranquility, I chose two images from Bermuda and a shot of Briana in the California desert to use for the desktops. I hope you enjoy these as much as I enjoy making them.

Here is the first desktop. It is one I did of Trikita on a wall in Bermuda, down along St. Georges. I love her spirited pose and the incredible sky all around.

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The second desktop is a shot I did at dawn on the beach. Getting up early with one of the workshop attendees, we tramped down to the beach in the dark and found our spots. We weren’t sure at all if it was going to be a good sunrise, but it turned out OK. I was shooting toward the sun when I turned and saw this view behind me.

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And by popular request, our monthly Briana desktop calendar added today (the 2nd) for her fans. We will have a Briana desktop for Model Behavior each month. Her dance calendar is coming along well too, so look for it soon.

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Thanks for visiting Lighting Essentials. BTW, we ask for registration to keep some sort of order here. I try to keep out the spam and such. We do not use your registration information for anything, and I don’t even look at it. But if we have someone come on and start selling or spamming, I would at least have control. So don’t worry about signing up or registering. You wont receive any email from me and I share that list with NO ONE.

Thanks…

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Range beyond the ordinary:

All the world’s a stage, and all the men and women merely players. And we each play our parts. And models? Well, sorry, Shakespeare, models can play any part. Modeling and acting are synonymous. It’s what makes us special. We don’t just look good; we’re great in every respect. Simply put, by embracing every opportunity to be someone else – while still being ourselves – models can add to their credentials while expanding a photog’s portfolio of work. It’s called range. Great actors have it. As do great models. And with a few reminders and trial runs, any model can expand her range to be a better playa! (Haha! Eat that, Shakes.) And with such a model, any photog can look like the original player… Hugh Hefner.

One model? One pose? One look? Neeeext:

Evolving with my Ipod

Your job’s over, and your photog has moved on to look for that next “look” model to expand his purview. This is often a problem in the modeling world, as one-look models will be overlooked for a new type of shoot. In acting, this problem is called type-casting. Only the greatest actors evolve beyond the one-dimensional character type (be it action-hero or comedy relief) to become the multi-ranged actor starring in dramas, actions, comedies, and great romances. Whereas models that evolve are fewer and farther between. It seems easier for actors and singers to become models or even poets. Fair? Not really, but a fact of life. But wait… with range, that doesn’t have to be the case. The model can evolve to be the actor, the talk-show host, and even the singer. (The poet? Me? Nah.)

Range:

But what does a model do to keep his or her photog shooting her (and thus keep working)? It’s simple… Range! With a new look, a suggested shot, a different idea, or a creative wardrobe change, a model can develop her range. It starts with a simple concept we all (should have) learned in school. Remember Darwin? That’s right. Adapt. Adapt to your environment. Be the cactus. Be the sun. Be the ice skater. Be willing to be someone else. If you’re happy when you know it, clap your hands. If you really wanna show it… do more. Better yet, if you’re happy, try being sad. Change and adapt to what’s needed, or what makes your “look” different that day. Adapt and survive. Darwin would be proud and you’ll keep working.

Multiplicity:

A Ghostly Wedding

Multitasking, multivitamins, multicultural… range is everywhere. Everything in our society is now found in multiples. Once we realize that we no longer look at things in opposition, we can go beyond our one dimensional roles and become multi-talented models. Ones with range. Think of it this way, back in the day we thought of things as good or evil, light or dark, happy or sad. There was no middle ground. Yet now, we realize there’s a whole world of gray between the black and the white, and that’s where most of us operate. Imagine watching a cop movie with a perfect police officer. Boring? Our cops are a lot darker in movies now. Think Batman, Clint Eastwood, or that Die Hard guy. You can be both light and dark in this generation. That’s a multiple. And range in modeling is one and the same.

Range – A How to Guide:

The following is a how-to guide for a photog or model to use as a checklist. These aren’t all the ways to develop range, just a few, and I hope you readers will comment on ways you’ve found helpful… so this article can grow in range as well.

1) Wardrobe – styles, eras, accessories, brands… keep going. How do you think fashion designers come up with new concepts? They take old ones and adapt them to the new era. Notice that the 80’s are back? They are. You, with some great pics, can bring back any generation you choose.

I heart 80's

2) Adopting Roles – like stage acting, play another part. Be a dancer… a baker, or a candlestick maker. It doesn’t matter, even if it’s not you. I’ve been a gun-toting minuteman and a rocker chick. Even though guns scare me. And I can’t play guitar. Get the point?

3) Makeup and Hair – hair and makeup. Two distinctly different things, but both work well as examples of range potential. Ever done one of those online “gizmoz” or “Cosmo” things to see what you look like with different hair styles, hair colors, makeup, or even outfits? I’d lay a bet on it in Vegas. I saw a guy the other day on “gizmoz” trying to see what he’d look like in a Britney Spears video… blond hair and scruff… scary! But you know we’ve all tried it.

4) Emotions – how many emotions are there? And then how many variations of each are there? Think back to Shakespeare and the play Romeo and Juliet. What’s the main emotion? Love? Not enough. Tragic love? Getting closer. The reality? It’s far more than that… R&J runs the whole range of love – from family love, to friend love, to teenage crazy love, to even “playa” love. Each one provides a good model with varied looks… just try to run the whole gamut of love in your next shoot and see the difference in the end photos.

5) Environment – there are two choices a model can make within the chosen environment… she can either reflect it or stand in contrast with it. Well… there is a third possibility… and that’s where range really lies for the model. It’s that gray area in between those polar opposites, it’s that middle ground, and it’s the multi. That’s right. You can reflect your environment while at the same time being at odds with it. How? Well… figure it out and you’ll shine. For instance, not to brag, I once did a shot on a beach where I was carefree and mirrored the feel of the waves, sand, and sun. At the same time I used my dancing skills to do a C-Jump, which may have seemed better suited for the b-ball court with the height I was able to hit, but it actually allowed me to embrace the sky. Another time, with Don, we took a picture by a light pole in Houston. I thought Singing in the Rain and went Kung Fu. Reflect and contrast, Grasshopper.

To be continued… Next: Range Continued – A How to Guide

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Briana is back with Part Two of the Posing and Performance Column. Be sure to read her first columns and be looking for more as she helps photographers and models work together to create exciting imagery. Also be sure to check out the Lighting Essentials Magazine for interviews, articles and more. Just click the LE Magazine banner on the right side and enjoy. Be sure to read the interview with Keith Taylor, a shooter in Atlanta.

Don’t forget to check out Briana’s Flickr forum and leave a comment or two. There is a huge Flickr set here if you want more Briana. Now, on to the article.

Performance – A How to Guide:

The first part discussed the basic theory of performance, but this part provides an easy step by step checklist to get the most out of a model’s art and provide the photog with as much material as possible. Obviously, they’re not the only aspects of how one performs when modeling; just a quick survey of a few important keys. But again, for me, I just do it. It’s second nature. Now it’s time for you too to realize that it’s also your second nature. Perform and see. Honest.

My 17 cover audition. Bright green top, white background reminded me of the 17 cover and their use of smiling models

1) Environment: Are you in a studio? A city? A beach? Each offers a valuable opportunity to test your range. Is it night? Day? Or “magic hour” (that time of day when natural light creates this incredible glow just before the sun sets)? Again, each will reflect on what you have to show the world. For instance, a beach during a cloudy day is not what we hope for when we go to the beach. No, we want sun. But… a cloudy day offers opportunities. Spread your arms, affect a pensive pose, and now… a photog can make it seem as if you command the vary elements themselves (Thanks Laurie! And Don… I remember your mystic shot too.)

Paid for by the NRA. This prop made me feel tough, hence my expression

2) Props: I did a shoot with hats. It was fun. (Look for an all-Briana dance calendar soon!) I’ve also done a shoot with a box and with a chair. I was supposed to sit on the box. I was supposed to sit on the chair. I wasn’t supposed to talk. I wasn’t supposed to care. I sat on that box and I sat on that chair, but in the end, I wasn’t there. Okay, enough Dr. Seuss. Basically, I chose to do more than sit meekly allowing myself to be led. It was boring. I picked up the chair and put it on my head (aarggh! I’m stuck in rhyme!) I lay on the box and talked. I told Don what I wanted to do… and he happily shot me… through and through? (We are from the cowboy state, Arizona, so the pun works for me.)

A chair: not just for sitting Twyla Tharp teaches 60 uses for a stool for her dancers to show their range... I used a chair

Thinking outside the box Don asked me to sit on the box, so I lay down

3) The Space: Okay, you’re in a studio or on a mountain top. What do you do? How do you appear large on a mountain or small in a studio? Well, the photog can manipulate the shot using angles and light, but a model can help too. Appear meek in the studio and the photog can make you smaller. Cross your arms and jut out your chin and you’re larger than life on that mountain top. Or… do cartwheels. Yes, move. Cameras today are made to take pics quick. So move. Trust your photog, he’ll get the shot. It’s why they bring so many memory cards. Me? I like to jump. It’s fun.

4) Your Mood: Sometimes I’m sad. Yup, it’s true. Most of the time I’m happy, like now, but not to worry, no matter what I’ll smile for you. Regardless, we’re supposed to be professional and separate our feelings from work. Why? ‘Cause the photog wants a particular feel? Don’t worry about that, they’re professionals too. They’ll adapt. Sure, you can do some shots like they want, but let your mood dictate your performance. In the end, the outcome may be better than originally expected. When has life ever measured up to our expectations? Isn’t art supposed to mirror life’s experience? Exactly… be you. Trust the photog.

Hair makes the princess... even in lingerie Confined space with a head shot, makes one develop range

5) Your Background: Now I’m a dancer; a modern jazz dancer, not a stripper. Not that there’s anything wrong with stripping. In fact, the talents learned there can translate to modeling just as well. What matters here is that we all have histories. We have abilities too. Use them! Whether you played baseball, did martial arts, gymnastics, or cheerleading, you got “mad skills”… so explore the possibilities those skills add to your shoot. You’ll be amazed. And at worst… the shots end up in the recycle bin.

6) Play Make Believe: Einstein argues we must continuously break the rules to affect change. And one way, he argues, is to be a child. So be a kid! Enjoy yourself! Remember what it was like to be a fairy princess or to be Lara Croft? Well… you still do it. You know you do; in your dreams or at Halloween. You know you pose in front of your mirror or pretend you’re someone else. Admit it. So do it at your shoot too. It’ll be worth it.

Conclusion:

Essentially, performance is second nature to all of us. It’s a part of our history. We performed as kids and we adopt personas when in different situations (such as work and play.) So let it out. Sure, posing is fine. But it’s limited. Perform and pause. Pause and perform. That stop in your performance is where the original poses came from. But if you perform and pause… you’ll invent new ones and stretch your range as a model. Use what’s there and what you feel. Everything is like food for performance; let it feed what you show your photog and thus the world. Become “moving” art. Move.

Next in Model Behavior: Modeling the Light: A Model’s Role in Lighting

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