Do you like taking portraits? Do you know everything about composition, shooting techniques, cameras? If, despite all this, looking at the photographs, you still understand that the image does not look “alive” enough, try using these tips.
How to make your model relax? This question worries many photographers, not only those who shoot for commercial purposes, but also those who take photographs of friends and relatives. How to achieve a beautiful, lively likeness, as if a person is just looking in the mirror?
Everything will depend on how the photographer and model can influence each other. It is known that there are three types of interaction: the photographer controls the model, the model dictates what to do, the model and the master collaborate. The first type of interaction allows you to get interesting plastic pictures. The second type, where the model dominates, will allow you to get a living portrait; it’s enough just to catch good moments. The third type of interaction allows you to get pictures that are sincere in mood, based on some idea.
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If the model is already at the shooting location, use the so-called “tea ceremony”. Offer tea or coffee, start a light, abstract conversation about life, hobbies, tell an anecdote, joke. To win over the model, the photographer himself must be relaxed, calm and confident.
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To quickly relax the model, you can try jumping on it. Another way to quickly relax is to drink a glass of champagne or wine, but no more. The third way is to “starve her out”; usually in the first hour of shooting she feels a little constrained, but in the second hour she relaxes. In the third hour a person already begins to get tired.
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Alternate series when you say: “... one, two, three”, “shooting”, “ready” for an unexpected shutter release. You'll be able to compare how the model looks when she's poised and tense, ready for the shutter to click, versus when she's relaxed and not expecting you to take the shot.
Let's have fun
The photo shoot should be interesting and, if possible, fun. Ask your model to play, then try to encourage her to portray different emotions. However, try not to make these emotions static, otherwise your model may resemble a corpse or a statue. Your task is to get her to be lively, her eyes to sparkle, and to create the illusion that this was one single frame of one single moment.
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There is no need to force the model to sit in one position for a long time, ask her to close her eyes and open them on the count of three, since many people’s gaze “dies” from looking at one point for a long time.
Remember, correctly presented emotions are the key to the success of a photographic portrait. However, thoughts and emotions themselves cannot be photographed. Most often, the emotion experienced by the model will not be read in the photograph, but will be perceived by the viewer as a cartoon or grotesque. You can only photograph the physical manifestation of thoughts and emotions.
Speak the same language with the model
It is very important that the model understands the photographer's concise and clear instructions. You can briefly tell us what kind of photo you want to get. Use simple, understandable terms. It is advisable that she can understand any instructions regarding a particular pose during photography. But it’s best to correct your hair or clothes by a photographer.
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Don't let yourself be suppressed
There are situations when the model tries to guide the process. And such guidance is not always competent: an ugly pose, an unsuccessful angle is imposed. If the goal is to please the model at any cost, take a few shots, and then change the pose or angle.
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At the end of the shoot
Compliment the model and say that she handled herself like a professional. At the end of the shooting, it is worth saying that it was easy for you to work with her, that you are satisfied with the results of the work.
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To believe that a photographer’s girlfriend is originally a fashion model whom the photographer met on a shoot is the stupidest stereotype in the world. In fact, a normal photographer first drags the girl into bed, and only then, if there is time left, into the studio.
Of course, there are a lot of young people who became photographers precisely in order to have access to models, but we’re not talking about these wretched people now.
In matters of personal relationships, for a man, the profession of “photographer” is a death sentence. Any girl you sleep with will sooner or later ask you to take her picture. So if you are a photographer, then you simply can’t help but take pictures of the girls you sleep with, and you can’t help but sleep with the girls you photograph.
So for a professional, taking photographs of your girlfriend is an inevitable duty. Of course, most often you take a photo of her because she asked you to, but sometimes you are just trying to save time on searching suitable model For commercial work, and you just take the girl you woke up next to for the shoot. The client needs a model for a shoot, and you bring your own, and are proud of your intelligence.
But then it suddenly turns out that such a solution has big pitfalls. The fact is that it is very difficult to demand return from a girl whose relationship with whom you have so much goes beyond work. Because she feels comfortable with you on set and is relaxed. And if you can always put pressure on an ordinary model, pull her back, and bring her to her senses, then in a situation with your girlfriend you will think five times whether it’s worth doing this. What if she gets upset with you and leaves you without something sweet? So you’re spinning around like you’re in a frying pan, trying to make it work and not be rude.
But these are still flowers; it’s much worse when you bring your girlfriend to a shoot where several models are working at once. It is incredibly difficult to communicate with her evenly, without in any way singling her out from the rest, and at the same time, communicating with the others, without giving her the slightest reason for jealousy.
Here the main problem The thing is that the compliments you give to her competitors have to be weighed with apothecary precision, because if you make a mistake, then hysteria, if not now, then later, is simply guaranteed. (And again you are left without sweets.)
In short, you soon realize that using your girlfriend on commercial shoots is... big mistake. But you still naively believe that for creative photography, best option can not found! It is always at hand, you don’t need to look for anyone, and with shooting in naked no problem, in short - an ideal option, take it and create!
You take it out into nature and start filming. The weather is magnificent, sunny, a light breeze plays with her dress, you couldn’t ask for more! But the longer you work, the more clearly you realize that again nothing is working out. She is lazy, she is distracted, she is capricious, sometimes the grass hurts her butt, sometimes the sun is shining in her eyes, sometimes the wind blows her hair, in short, there are a thousand and one reasons to pout and not work.
And no matter what you do, she can't concentrate. But a certain amount of effort, emotional interaction with the photographer, and simply interest in the final result is certainly required from a model during a shoot. And here the filming by her is not taken seriously at all. And again, applying pressure is understandably not an option.
But the main trouble lies elsewhere. Suddenly it suddenly turns out that absolutely all the practices that you usually use when working with models, all the standard jokes and compliments, gags and gags are completely inapplicable! It turns out that all your psychological interaction skills are very clearly tailored to photographing people you barely know.
It’s difficult to explain, but those phrases that always have the desired effect on any model do not work at all with a girl who has seen you without pants. What an ambush!
Realizing that nothing is working out, but nevertheless not wanting to admit that you screwed up, you use last chance, and command the model to undress. Well, you think to yourself, nudity will definitely do now, and the light is just like that, soft - just right!
But nothing works here either! She is not at all shy, poses completely relaxed, or even begins to giggle stupidly and supposedly take various seductive poses as a joke. Well, what kind of work are we talking about here?
And no matter how much you explain to her that a little later she will still have plenty of time to test her feminine charm on you, she just laughs and continues to provoke you. It all ends with you giving up, and after sex outdoors and returning home, you simply format the flash drive without looking.
To be honest, I don’t know, maybe other photographers are able to photograph their girls, but I swore off even trying a long time ago, it just never works out. So a professionally executed sun on the palm of my hand is the maximum that I can now persuade myself to do. This is where I can shine! No one is as good at putting the sun on their palm as I am! Come on bunny, smile!
Famous American photographer Emily Soto, who lives in New York, has made her name famous great photos celebrities. Plus, Emily works great in the genre of “lifestyle” and fashion photography. Any of the photographs of this master is a real work of art, an impeccably executed work that evokes a storm of emotions in the viewer. Plus, they are very, very romantic! Emily Soto's bold and playful photographs are a hit not only with viewers. The photographer’s works are actively bought by prestigious publishing houses; they adorn the covers of fashion magazines. And Emily Soto, along with her friendly and well-coordinated creative team like-minded people are organized various kinds photographic workshops all over the world: in Europe, Australia, Asia. These workshops mainly focus on fashion photography.
Emily believes that one of the important components of a successful photo shoot is establishing contact with the model and communicating with her. But, unfortunately, many photographers often forget about this side of the matter and focus their attention mainly on photographic equipment, lighting and other things. However, in order to create good photo, a photographer needs to learn how to convey his ideas, his emotions and feelings to the person he is photographing.
Today we will talk about how a photographer can achieve close contact and mutual understanding with a model, how to win over the person being portrayed, based on the advice that Emily Soto gives at her seminars, master classes, as well as in her publications and interviews.
Communication with the model is the main thing
It often takes some time for the subject to get used to the camera and the unfamiliar surroundings of your photo studio. And if your model is a person inexperienced in this matter, inexperienced, then sometimes it is necessary to have a short conversation with him, in which you instruct him about what he and you will have to do in the coming hours.
Each person is unique in his own way, different from anyone else. It is these features that the photographer, first of all, needs to identify, and then decide how best to photograph his client, in what key, from what angle, and so on.
Pay attention to how other photographers work with models. How differently they photograph the same people! If you establish a connection with the subject from the very beginning of your relationship creative process, then we can consider that you have already done half the work. The foundation for taking a good photo has already been laid by you.
All possible ways and options for communication between a photographer and a model
When working with her model, Emily Soto recommends that the photographer not only use verbal, that is, linguistic communication, but also non-verbal methods. The human body can also speak, but with its own special language. It is this body language that sets the mood for the entire photo. After all, the photographer not only explains to the subject in words what poses he needs to take, but also shows them to him himself. On by example demonstrates how to position your arms, legs, head...
Before you start a photo shoot, look at the portfolio of your current model. Pay attention first of all to which poses are more beneficial for her and which are less so. Which angle is more suitable for this type, in which style is it better to photograph the person who comes to you.
Try to always have your own portfolio at hand. Your work will always be useful to you in order to real example show your model, for example, what pose she needs to take, what facial expression to make. Don’t forget that in practice it usually happens that the first half hour of work is spent on test, “sighting” shots. During this time, the photographer establishes contact with the subject, looks for the right angles, lighting options, and works with the composition of the portrait.
Focus on hands, eyes and mouth
One of the most important tasks for a photographer is the task of evoking in the model the mood necessary for the particular photograph he intends to take. Emily herself loves to create photographs that are romantic, soft in color and tone. The main thing in her portraits is the innocent large-gas models. Don’t forget to pay attention to the mouth of the person being portrayed. Whether the model's mouth is open or closed - a lot depends on it. Including the emotions that the model conveys to the viewer through the photo.
A person’s hands are very important in a portrait. If the hands in the photo look awkward, if they are tense, this means only one thing: the model is nervous. Fight it!
Speak the same language with the model!
Before you start working on creating a portrait of a person who comes to your photo studio, show him photographs of other models that would reflect the style, general mood, compositional solution, poses, that is, everything that you want to achieve in the end. Tell the sitter what emotions you want to get from her, what mood the future portrait should evoke in the viewer. Describe all this in such a way that the model understands you, so that it becomes clear to her what exactly you require from her.
It may happen that the model does not speak the language you speak. In this case, you will have to work without resorting to words, using gestures and emotions.
Emily Soto herself loves simple poses in her portraits, in which the model looks natural, and her eyes convey exactly the emotions that the photographer wanted to achieve. In order to be on the same creative wavelength as a model, you don’t need to speak the same language.
Make an effort to get your model to relax
The fact that the model cannot relax, feel comfortable in your photo studio or simply in your presence is usually indicated by hands. More precisely, clumsiness, tension in the hands. Sometimes the model simply doesn’t know where to put them. If you realize that the person who came to you to be photographed is in an inappropriate state of mind for work, offer him several posing options yourself. In some cases, it can be helpful to return to the basic, main pose with which you started working. Well, for example, looking over your shoulder or directly into the camera lens.
It is very important that in the photo studio or where you are conducting the photo shoot, there is a chair or at least a stool so that the model can rest during breaks in work. Of course, if you work outside the studio, for example, in nature, then the model can sit on a step of the stairs, on a stone or some kind of stump, or simply lean against the wall of a house or a fence, in the end. As soon as the person feels that he feels good and comfortable, that the pose he has adopted is comfortable and natural for him, you can start shooting again. And you will immediately see the difference in the pictures taken before the model rested and after this short rest.
A comfortable environment for the model film set creates sounding music. Before you start working, find out from the model what kind of music she likes, what style or artist she prefers. But you don’t have to share her musical tastes at all. After all, your the main objective when photographing, ensure that the model you are working with relaxes and feels comfortable. And only after that she will begin to express herself.
Call the model by name!
Start calling your model by name from the very beginning of communication, already when you meet her at the threshold of your studio. It's so simple, but so effective! If you call your guest by name, he will immediately feel comfortable even in an unfamiliar room, in an unfamiliar environment. This means he will relax and behave naturally and at ease. As a result, your photo shoot will be successful and you will get wonderful pictures that will please not only you and the model, but also numerous viewers.
Ravshana Kurkova, actress
Psychological picture
Photo by Alexey Nikishin
The first problem is starting a conversation. What to talk about when you know nothing about a person? Everything is very simple! Talk to him about how he got there. After all, for now this is the only thing that unites you! Then find out how difficult it was to take time away from work during the day to film and how he managed it. Then you can clarify why he came without children... or without a dog. Any person should have either the first or the second. But this is a start. For the first, so to speak, acquaintance. But what to do next - read in order in this article.
1 Show genuine interest
We photograph not models, but people. And at the same time, we want them to appear in the photographs not as objects or hangers for advertising. Our task is to show the viewer these people as we saw them - sincere in every expression of their feelings. People, as a rule, are closed, live their own lives and are not used to letting strangers into it. Only those who are sincerely interested in us and what we do get beyond the invisible border - because it’s always pleasant. It is this approach that helps the photographer win over the model. After all, a person looks good in a photograph only when he is relaxed and ready to give something. If he treats photography as a passing moment in his life - he walked in, like in the subway, threw a coin and moved on - it is unlikely that he will get a good, deep portrait.
So, have a sincere conversation with the person on the shoot, show genuine interest.
Maria Mironova, actress
Psychological picture
Photo by Alexey Nikishin
I am often asked what to talk about with stranger? Eat common topics, which can be spoken to. The first question might be: “How did you get there? You’re taking a long time.” Then talk about what unites all people in the world: children, work, vacation. Everyone has children, everyone works and wants to go on vacation. If there are no children, there is a dog. This is for starters. Then you need to find out what topics are interesting to your interlocutor and talk in the field of his interests. It's important to be here educated person and don’t ask stupid, superficial questions - by doing this you will immediately compromise yourself. Talk to a taxi driver about roads and traffic jams, with a director - about art, with a manager - about margins, with a blogger - about how sick everything is around you. A person may come to you who, like you, conquered Kilimanjaro or simply also sunbathed in Turkey. There are topics that do not offend anyone.
2 Smile generously
People are drawn to cheerful people and optimists! This rule is. Therefore, you must smile and do it sincerely. It is believed that cheerful people charge us with a good mood. Good mood The message you convey to the model will allow you and her to move towards a common goal - a good portrait. Your model should feel that you are interested in what she is sharing with you. That it causes a positive reaction in you. A smile supports the person you are communicating with.
Marina Golub, actress
Psychological picture
Photo by Alexey Nikishin
Marina took a long time to get to my place for the shoot; she arrived a little upset, all in her thoughts and worries. And once again we got such a good portrait. Portrait "Light Sadness". What follows is even more interesting. At Marina’s house, Ksenia Sobchak saw the photograph and said, “What a good photographer!” Later, already in my studio during the shooting, Ksenia remembered this and this portrait of Marina and her first impressions of it. This helped us quickly find a common language during the shoot and take great photos.
3 Learn to listen carefully
People don't like to listen. They love to talk about themselves! They are not interested in you. They are interested in themselves. Every person in to a greater extent interested in talking about yourself. Sometimes you can't even stop him. And nothing is as interesting to him as his own life. A good friend- this is exactly the person who listens. If you create conditions in which a person can happily tell you about himself, you will thereby win him over. This will give the model a feeling of comfort and give you the opportunity to capture some real, sincere moments. When, for example, Henri Matisse painted portraits, he spent up to 80 sessions on them (for us photographers, in this sense, it is much easier). He was constantly in dialogue with the model. At the same time, he was almost completely immersed in the picture, being in a strange suspended state between the portrait and the model. And this state was very subtle. As soon as the model asked him: “What time is it?”, made him think and distract himself from the circulating emotional flow to something external, Matisse ended the session because he could no longer draw. This point also needs to be kept in mind.
Victor Misiano, curator
Psychological picture
Photo by Alexey Nikishin
You know the curator, lecturer and art critic Viktor Misiano, right? When he just starts talking, everyone around him falls silent, everyone listens. He doesn’t even need to ask questions - he will ask them himself and give comprehensive answers himself. Victor makes it so easy to be a good listener!
4 Make people feel important
The photographer, as an artist, must listen carefully to the person he is photographing and sincerely rejoice at his success. He may not agree with him, but the main thing in a shooting situation is to instill confidence in the person. So that a person feels that he is right in his life and in his actions. So that he feels - in the way he thinks and how he feels, he has “colleagues and friends.” Everyone wants recognition and support, everyone wants to be appreciated. And if we praise a person for his actions, we will give him this recognition. Let the person tell you how wonderful he was as a child. He will talk about it with passion and it will help you take a good portrait!
Patta Burchuladze, opera singer
Psychological picture
Photo by Alexey Nikishin
5 Love people
If you don't like people, you won't succeed at all. good portrait. After all, it is impossible to work with what you don’t like and achieve a satisfactory result. If you want to work with people, you need to be fully interested in them: find out what happened in the life of one model, in the life of another. This is precisely the essence of a person - in his life and actions. This is what makes people different from each other. And this is precisely the content of a good portrait.
Anastasia Volochkova, ballerina
Psychological picture
Photo by Alexey Nikishin
Pay attention to the first and last frames of your shooting - they can be the best. At the beginning, the model had not yet started taking photographs, but at the end she had already finished. She can look very natural in these shots. Say something like, “Now I’m going to take some test shots, I need to adjust the lighting.” Do it and film it yourself. It can also turn out very natural. This shot with Anastasia was the last on the three films shot.
There are photographers for whom people interfere with their photography - landscape photographers. People always interfere with their landscape photography and ruin everything. On the other hand, I know a lot good people who don't like people. But they can easily fall in love with them selectively, if necessary, for two or three hours. But how can one still fall in love if there is absolutely no reason for it? Very simple. In the cartoon about Pig Funtik they told you everything - they can have good children, or mustaches.
The work of a fashion photographer is considered one of the simplest. After all, he works with professional models who look great, know how to pose well, show the right emotions and are not shy about doing everything possible to get a winning shot. If you dream of becoming a fashion photographer or want to start working with models, here are a few things you need to know. It turns out that being a fashion photographer isn't that easy as a result.
1. Models have good sides and they know them.
It is widely known that the face is asymmetrical. Models can almost always tell you which side they prefer to see in photos. Compared to other clients, they simply take a lot more photographs.
By asking the model before shooting which side is best to photograph her, you will choose the light and locations in which the model will be able to turn this particular side. No model would like to be photographed from her “worst” side, so you will simply waste time doing such a photo shoot.
Models are usually okay with frontal shots. But you can shoot with a slight turn if the model is uncomfortable.
All of the above only matters if you are shooting for a model's portfolio. If you are shooting for a magazine or another client who hired you, their wishes take precedence over those of the model. In this tutorial we will consider the model as your client.
Models must look good to be hired, but they must come to the casting with a portfolio and photographs in hand. It is important that the pictures look like them. Casting directors may allow the photos to be embellished, but they also want to see variations of the images. That's why face-to-face castings are still being carried out.
Always ask what image you require. Agencies often tell you this if you work with them, or the model herself can tell you. Makeup and hairstyle should not be too fussy or fancy, just well styled, clean and beautiful, so don't worry if you see that the model has brought too little makeup with her.
If you work together with a makeup artist, start shooting with simple and natural images and continue with more complex ones, leaving the brightest makeup for the end of filming.
You also have to polish the images in the editor. Despite the fact that models should look like themselves in the photographs, they want to receive a portfolio of photographs without wrinkles, freckles and other imperfections that could not be hidden with makeup. All this should be edited as if the photo was being used for a poster or for advertising.
3. Models need a good hairdresser and makeup artist.
It can be beneficial to know a makeup artist and hairdresser. Most models and actresses prefer makeup and hair done as part of a photography package unless they have someone working with them on a regular basis.
Don't grab the first makeup artist you come across, because not every one of them is a professional and not everyone uses cosmetics professional quality. Before recommending them to your clients, look at their work and make sure you like their work with models.
Make sure they have a good personal compatibility with you and your subjects as you will be working closely together throughout the shoot. You should also consider a photo shoot package that includes hair and makeup.
4. Models need bows according to their needs
Always ask models what kind of shots they need. Typically, they may require options for fitness-style shots, in a swimsuit, with open face, glamorous and professional. Knowing this, you can refine your shooting locations for a variety of stylish photos.
Depending on the city you live in, the fashion industry may be focused more on catalog photography or high fashion. In the United States, high fashion is more common in New York and Los Angeles.
Find out how many looks your customer will receive for your price, in other words, how many wardrobe and makeup changes will be required. Sometimes a client needs to update only 2 images, sometimes four. You can let the client choose which images to process, or make this choice yourself.
How and how many photos to edit is up to you, but it is best to provide several images of each look so that the model and her agent can choose from them and decide which ones to include in the model's composite.
You don't have to shoot each image in a separate location. Often studios can provide ideal conditions for a model who knows how to pose and move.
5. Vertical images are preferred
Portfolios and composites are usually vertical - take this into account when shooting. On the back of the composition there are usually 3-4 photographs.
Black and white photos also perform well, often taking up space on the front side of composites, especially if they feature clean or dramatic imagery.
6. Models actively use social networks
The modeling world is a small community, especially in small towns. Unless you live in one of the entertainment capitals, good commercial photographers can be hard to find.
When a model is photographed and receives nice pictures, her agency often shares them in in social networks and this attracts new clients to you. Knowing this, try to always be positive and polite, cheerful and professional.
It's always a good idea to do more than promised. Get it done ahead of schedule, process a few additional photos. By submitting photos faster, you make the model happy, because the sooner she will update her portfolio and the sooner she will receive new job offers.
7. Models need direction too.
Models too creative people, having their own vision, so be open to it. They are not like regular clients who need to be constantly told what to do, but they do need some direction from you.
You should know a few winning photography poses, both casual and dramatic. You must know the poses that will make the customer look more advantageous and slimmer; and must know how to get the necessary emotions from the client. Keep them occupied throughout the shoot and encourage them to move as much as possible.
A good model should know that after every click of the camera shutter it must move. If this doesn’t happen, ask her to tilt her head a little, turn her chin, or do something else, otherwise you risk getting 100 identical shots.
During the shoot, you should also watch out for hair flyaways, makeup damage, and know when she needs to touch up her lips.
8. They need help with clothes
Models bring more items than they need, sometimes carrying a suitcase of clothes. They will ask for your help in choosing and you must be prepared for this. Remember that as a photographer, you know best what will look best in your photos.
If you have your own additional costumes or decorations for the photo shoot, do not hesitate to offer them. You never know when you'll need a ripped tank top for an off-the-shoulder shot, or when an old hoodie might make a great portfolio shot.
If you work as a team with a stylist or are brave enough to shop for models, feel free to offer a package shoot with a stylist. Models love the chance to be photographed in new clothes and this gives you more control over the final product.
9. Models are not rich
Models aren't rich and don't get paid as much for poster shoots as you might think, so don't dream of getting rich from their commissions. However, they need to constantly update their portfolio, almost all year round as they grow older, their hairstyle changes, etc.
Although modeling photography is not as lucrative as wedding photography, they are certainly the easiest and most wonderful clients to shoot with and can be repeat clients year after year as portfolio updates are needed.
For more rational use Of your time, you can make special and promotional offers to agencies, which will inform their clients about them. You can book such shoots for specific dates, filling almost the entire day. Since models don't pay much, your sessions for them will cost less than for other clients, but you can be rewarded with some truly stunning and artistic images.
You can use these works as a portfolio in order to get commercial assignments that pay better. The bonus of working with models is that a strong portfolio can open many doors, so whether it's for magazine shoots or modeling portfolios, always consider working with models as an opportunity for professional growth.
10. They trust you and take their time with photos.
Models don't need to see every shot you take. Perhaps one of the best things about working with models is that they are ideal clients who trust the photographer. They understand that they won't look perfect in every photo and understand the importance of the editing process.
When the photos are ready, you can send them directly to the model, or, if you worked through an agency, add their address to the letter so that they also receive the photos.
