My job has me working with models of all levels of experience... I'm talking about experience in front of a camera.Usually, within a few moments, I can determine the approximate skill level of most any model. That's not a brag. It's one of those abilities that just about everyone possesses. And it's not always about the model's (apparent) level of confidence. I've worked with experienced models who, when a session begins, exhibit obvious signs of nervousness, anxiety, and discomfort. Granted, that's rare when shooting experienced models, and those Nervous-Nellie behaviors always evaporate fairly quickly when working with girls who know their stuff, but it does happen. I guess some people are just wired that way.
Usually, when I begin with a model I've not shot before and after I've snapped a few to check the lighting, I'll ask her to show me what she's got. "Let's see what you got," or "Show me what you've got," are some of the less-than-clever things I might say. The model then strikes a few poses and those poses generally say it all.
After those first, "Let's see what you've got," shots, I usually give the model some direction based on what I've just witnessed. The less experienced the model seems to be, the more detailed that direction becomes. The more experienced she appears, the less direction I need to give. Generally, less skilled models are in need of constant direction and reminders of already-given direction, over and over, throughout the session. After all, later on when viewers are checking out your images, they have no idea how experienced the model was. All they know is what they see and, if what they see doesn't impress, they're not going to chalk it up to a lack-of-skill on the model's part: They're going to blame it on the shooter's apparent abilities or lack of abilities.
Obviously, it's much easier to screw up shots when working with inexperienced models. Why? Because, as a shooter, you become so focused on what the model is doing (and not doing) you end up with greater odds of neglecting to notice other things that might detract from the images. What this means is, when working with new and/or less-skilled models, shooters need to pay even greater attention to what's going on in their viewfinders.Details, details, details. It's all in the details. And certain situations, like working with novice models, usually requires even greater attention to details.
The model shown in the pics above is Kayla. MUA and hair by Lee Garland. I shot Kayla this past week. She is quite experienced in front of the camera. In fact, that girl can bust some moves! I love working with pretty girls like Kayla who make my job so much easier. (Yes, I am lazy and anytime a model makes my job easier, I'm very appreciative.) I captured Kayla with my Canon 5D with an 85mm, f/1.8 prime attached. ISO 100, f/5.6 @ 125th. Three light sources and a reflector were used: A 5' Photoflex Octodome for the main with a silver reflector, opposite the main, bouncing in some fill. Behind her, I set a medium Chimera strip to create an "edge" down one side of her body and I boomed in another source, modified with a small, silver, umbrella, for a hair light.
2 comments:
I'm moderately inexperienced, so its not a great combination when I shoot someone who is equally inexperienced. I generally start with a quick talk of what I like to see, angles and "S" curves.I go from there, trying to give positive feedback frequently,as the models seem to respond very favorably.
So, what do you communicate for expressions. I get tired of those vapid, deer in the headlights expressions. The face communicates so much emotion,which I think you need to pull off a good or great image.
Do you coach; "Give me hot, sultry, sad" etc. Or do you build the scene from the beginning and just go with it?
jeff--
you're definitely approaching this right. when the model is inexperienced, they need to hear about "s" curves, angles, and general ways to hold their bodies.
i also explain a little about what each light is doing. i might say a few words about making adjustments that i ask them to make and how i'm usually looking for little adjustments, not major changes in the way they've hit a pose. for instance, i have this pet peeve about hidden arms (they come off looking like they're amputated in many pics) so i often give them the "funky chicken" analogy about holding their elbows out and away from their bodies... altho without overdoing it.
when i ask them to bend one way or another, i sometimes tell them that if it doesn't hurt, they're not doing it right.
you're also right about the importance of expression... it conveys so much. and, yeah, i try to use words that describe emotions and/or attitudes. I might ask them to sneer, to growl, or to show me how "bad" they are, whatever seems to make sense and what, i think and hope, will make sense to the model.
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