Shooting Models, Tips???? Also a few of my pics

[Tye]

Hey I have a quick request from all you fine folk, I'm looking into shooting more of a structured shoot with a model (which will probably just be my girlfriend or a friend or two) and am wondering what are some quick tips with working with a model? Most of my stuff at this point has been pretty much all candid so I don't have much experience with "setting up" a shot. Also is there any good resources that you have found for working with a model, mainly something with lots of pics or video since I'm more of a visual learner? Most of the things I have found through YouTube and such are either shoots that are way to posed which I'm not to much of a fan of, or it's a shoot with a poop ton of studio equipment.

Here is a few candid shots that I have taken of my girlfriend (right before getting a death glare for taking her photo) These are kinda the more simple and natural shots I would like to emulate and get with a model.

 

[runnah]

Well having a theme is good. Check Pinterest for poses that match the theme.

 

[frommrstomommy]

Yes, I agree ^^ I make pinterest boards a lot for inspiration and posing ideas. I usually search for themed photos and go from there. Example: seniors

 

[Tye]

What do you sort of mean by "themes"? I'm having a hard time wrapping my head around it at the moment (possibly just lack of sleep). Basically just search for what you will be shooting? i.e. seniors, couples, random girl drinking tea????

 

[frommrstomommy]

What do you sort of mean by "themes"? I'm having a hard time wrapping my head around it at the moment (possibly just lack of sleep). Basically just search for what you will be shooting? i.e. seniors, couples, random girl drinking tea????

I can't speak for runnah but what I do is search like "rustic senior shoot" or "boho photo shoot" .. or if you wanted to do a shoot at say a coffee shop say "coffee shop photos" maybe. Think searchable terms as far as location you'll be shooting, who you'll be shooting, and what they'll be wearing.

 

[Derrel]

A couple of tips. The first is very important: give the model/subject a brief introduction to the way in which the start of the shoot is going to be handled. In other words, explain "the method" that will be used. Let's say the model is a young female; so we will call her "her". Tell her that you will shoot two or three frames, then you will tell her how to refine the pose, and that you'll shoot three or four more frames, and then we will move on to the next variation of that pose, or the next pose entirely. And then hit these critical points: 1) not every frame needs to be a big smile. 2) We want to capture a variety of expressions 3) We're looking for one out of every ten or fifteen shots to be a keeper, so don't worry about making every shot "a keeper". 4) Closed-mouth expressions, quiet expressions, looking at the lens, looking above the lens, looking off to the side of the lens, or looking wayyyy off to the side--any and all of those "eye directions" can potentially be good, depending on the shot and pose.

The thing is, a lot of people want to please; they want to "do well", but they are NOT really models, so they need to be told, in advance, that not every shot needs to be a big smile, not every frame is expected to be perfect, and that ANY expression might prove to be appropriate.

After a few minutes, new subjects warm up and get into a groove. Give them some positive feedback after about two minutes of shooting. "That was great! That looked good!" Or, "Yes, when you look off to the side from there, it looks good, let's try a few where you look lower, more toward the ground, but keep your chin angled up about the same as the last pose," and so on. After 10 minutes, tell them, "Let's take a break, let me show you how great some of these poses you did look!"

Then scroll thru with her looking on, and when you see a good one, zoom in on it, and give it a compliment, then zoom right thru 10,15 more, until you hit the next "keeper",and praise that.

This approach works. It builds rapport, gives feedback,.and builds subject confidence in the way YOU shoot a set. This is a form of what is called pre-selling, by building enthusiasm for the product, which is the photographs you are making. You are using the d-slr and its built-in review as a tool to help things go better. You allow the subject to literally SEE how well she is doing, and how her "looks" are being seen by the camera and lighting, and she can literally see how well you can run the camera to actually make her look good. Once the subject is in a good groove, do not stop to review again until the end of the first clothing change. Shoot,shoot,shoot.

At the 30-minute mark, you might hit peak stride and get the best shots of the session. Be prepared to shoot that intensely, and without interruptions of breaks.

 

[Trever1t]

I don't do concepts and I don't usually have a plan. I just talk with the models, get to know them a little, have them loosen up and shoot them as they are, naturally. (and hopefully uninhibited)

 

[Tye]

Thank you a ton everyone! This really helps give me a starting point to work towards.

 

[JoeW]

Lots of different approaches. Just look at Trever's response compared to Derrel's. I think it's about the nature of the shoot (for instance, if the client is paying for you to produce a specific look or shot, then the importance of the model being clear about that and having a sequence list matters a lot), who the model is, and how you work best.

Here's my advice:

1. Manage expectations upfront. Communicate where people need to be and when, exchange phone numbers, communicate directions if need be. Tell the model if there are particular outfits or props to bring. For instance, if you're shooting art nudes, you don't want the model to wear tight clothes (b/c it leaves marks on the skin). Have an emergency kit (like a few safety pins, some baby wipes, something that will suffice as a mirror, a brush). Some bottles of water and snacks (some new models may starve themselves before a shoot, run out of energy or get a headache). Think through the shoot, what shots you want to get, think of a sequence. But with all that planning, be prepared to embrace spontaneity...where you're walking to the shooting site and see a really cool tree stump or patterns in the sand or the model shows up wearing street clothes that are just perfect for this setting in your living room.

2. When you get together with the model, confirm schedules (so you know when she needs to leave or when your studio time is used up or at what point the sun sets or the parking garage closes). Print out some sample poses (especially if the model is new) to give her some examples. Talk through how you'll give posing instructions (you model the pose? Verbally? Will you mirror or describe the change?). Get a release signed upfront and confirm age of consent with a valid ID.

3. I think it makes sense to shoot a few, stop and then look at results. You'd be surprised how often you failed to reset your ISO or exposure compensation. Sometimes the model wants to look. And plan on a break somewhere in the middle so you can both check on what is working, what should change, what do you absolutely positively need to make time to shoot. Last of all, I think it makes sense to end every shoot with a quick critique on what worked, what you'd do differently. It doesn't have to be extensive. But you can learn a lot. New models usually appreciate tips and advice. And at a minimum, both sides go "it was all good--wouldn't change a thing" and then you leave feeling even better.

4. As for "theme" think of it this way: you can shoot swimsuit poses. But if you had Derrel, Trever, and myself all shoot the same model with the same suits but in different sessions, you'd likely end up with 3 different "looks" and approaches. So a "theme" can be general (like pinup or swimwear or high fashion or vintage or athletic wear). Or it can refer to a particular approach to that focus. So one of us could shoot the model wearing swimsuits in a studio with strobes as if it were for a catalog. Another one of us could shoot everything near water (a creek or ocean or pool) and in many cases the suit is hidden or not completely displayed (model is in the water or covered with a towel). And a third shoot has the model in humorous situations (model covering up a "beach closed" sign or a the model altering the suit so it fits a bigger body or a take-off on the classic Coppertone ad). So theme could mean a general topic/genre or it could mean a subset (sometimes referred to as a concept).

I've known plenty of photographers who plan like maniacs. Others who show up and throw it all to the wind. But unless you're very experienced at doing this, it helps to pre-plan at least some, even if you end up jettisoning the plans for a spontaneous opportunity.

 

[GonzalesMarlyn]

Great models tips...

 

[The_Traveler]

Pardon me if I say something you already know.
Just a heads-up about pictures you have posted.

In this shot, look how low she is in the frame, making her almost a floating head, while there is lots of empty space above her. I understand wanting her to seem 'isolated' in the woods but the truncation of her body doesn't help. Also the intense saturation and deep blue tint of everything, including snow, could work except even the whites of her eyes are blue.

Moving her up in the frame looks better, I think.

Using a relatively wide angle lens and having 'unimportant' parts closer to the camera makes them big all out of proportion, and in this case, slightly OOF.
The cup looks huge and, being so bright, attracts my eye, distracting me from her eyes which should be the center of interest. (and her hands look big and clumsy)

 

[tirediron]

Psssst.... Lew.... that thread's almost two years old!

 

[The_Traveler]

oh, crap -- it popped up and I saw the post from this AM and never looked any further.

 

[DGMPhotography]

A couple of tips. The first is very important: give the model/subject a brief introduction to the way in which the start of the shoot is going to be handled. In other words, explain "the method" that will be used. Let's say the model is a young female; so we will call her "her". Tell her that you will shoot two or three frames, then you will tell her how to refine the pose, and that you'll shoot three or four more frames, and then we will move on to the next variation of that pose, or the next pose entirely. And then hit these critical points: 1) not every frame needs to be a big smile. 2) We want to capture a variety of expressions 3) We're looking for one out of every ten or fifteen shots to be a keeper, so don't worry about making every shot "a keeper". 4) Closed-mouth expressions, quiet expressions, looking at the lens, looking above the lens, looking off to the side of the lens, or looking wayyyy off to the side--any and all of those "eye directions" can potentially be good, depending on the shot and pose.

The thing is, a lot of people want to please; they want to "do well", but they are NOT really models, so they need to be told, in advance, that not every shot needs to be a big smile, not every frame is expected to be perfect, and that ANY expression might prove to be appropriate.

After a few minutes, new subjects warm up and get into a groove. Give them some positive feedback after about two minutes of shooting. "That was great! That looked good!" Or, "Yes, when you look off to the side from there, it looks good, let's try a few where you look lower, more toward the ground, but keep your chin angled up about the same as the last pose," and so on. After 10 minutes, tell them, "Let's take a break, let me show you how great some of these poses you did look!"

Then scroll thru with her looking on, and when you see a good one, zoom in on it, and give it a compliment, then zoom right thru 10,15 more, until you hit the next "keeper",and praise that.

This approach works. It builds rapport, gives feedback,.and builds subject confidence in the way YOU shoot a set. This is a form of what is called pre-selling, by building enthusiasm for the product, which is the photographs you are making. You are using the d-slr and its built-in review as a tool to help things go better. You allow the subject to literally SEE how well she is doing, and how her "looks" are being seen by the camera and lighting, and she can literally see how well you can run the camera to actually make her look good. Once the subject is in a good groove, do not stop to review again until the end of the first clothing change. Shoot,shoot,shoot.

At the 30-minute mark, you might hit peak stride and get the best shots of the session. Be prepared to shoot that intensely, and without interruptions of breaks.

You gave me this advice 2-3 years ago, and I've been following it ever since