Every now and then I need to add a new model to my repertoire in order to bring a breath of fresh air into my workshops and BLOG+.
The model has to be living close to Prague because I don’t reimburse extensive travel and accommodation costs for such jobs.
This time I sought out Ivana and arranged a paid test shot in Prague center with her.
Even though Ivana already is a very experienced glamour model, she is yet new to me since I have never worked with her before.
Testing Requirement 1: Communication Skills & Reliability
Before the actual shoot takes place, the first criteria I test is the communication skill with regards to her responsive time.
As always when approaching a new model I contacted Ivana by e-mail, described my request in detail, attached a PDF showing my work plus some behind the scenes material and I made a concrete offer for a test shoot. Just the date was open as the date mostly is up to the model to choose for this form of shoot (after all, it is me who wants something from her so I always try to be very flexible in the beginning).
I give a new model I approach a maximum of 3 days to respond after my initial contact attempt. If I receive no answer within this timeframe, I move on and do not bother to contact her again. After all she considers herself a “professional” and communication is an essential part of our profession. Everybody in this business has a smart phone these days and models are constantly toying with their phones during shootings, gym workouts and on vacations…
Ivana responded within 24 hours, we had a few more e-mail exchanges to clarify details and then the shooting date and parameters were set.
On a side note: after a first successful contact I also attach importance to the regularity of our further communication. If I get the impression that, after a nice first communication, the following exchange starts to become more irregular and/or I have to remind her to respond several times, I simply stop this trial.
Being responsive on a constant level is a must for me – a professional attitude – that is at least as important as “good looks” and great posing skills.
Eventually, the model has to be absolutely reliable later on to ensure that she will be at the right place at the right time, for example.
Testing Requirement 2: Punctuality & Personality
When I am going for a test shoot, I always have my make-up artist with me. These tests are exactly like a normal shoot for me and I create the best possible conditions so I can truly judge the model during the shoot.
This kind of shoot is different from a casting call where I would only snap a few impressions.
My team for this day was comprised of: Aneta (MUHA), Ivana (model), Jan (BTS documentary) and my humble self.
I had my first personal meeting with Ivana right on our shooting day and I immediately felt that she’s easy going yet very professional at the same time. She arrived 10 minutes earlier as agreed upon, brought her suitcase full of clothes and accessories and had her hair and nails prepared as discussed.
Ivana was open-minded, laughed a lot and simply wowed us with her pleasant personality.
On a side note: If I choose models for my own productions/workshops (= no client obligations) that I want to work with on a regular basis, I don’t like divas, arrogant, distant and cold people. I would carry out the test shoot as agreed but then never ever work with them again…
Testing Requirement 3: “Acting” & Contribution
The light for set number 4 was installed, Ivana’s styling and look finished and we were ready to go.
We worked on four different sets that day, yet I am only showing one of them here. A second set will be revealed in a later post…
The aim of this scene was to create a sexy situation in front of old lockers, within a perspective alignment. So the composition itself was quite static and now it all depended on Ivana’s acting and expressions.
Lighting Setup
- As key light I used a strip softbox 1.3x6’ (40x180cm) with grid. The grid helped to avoid too many reflections on the locker’s metal surface and on the opposite side on the wood’s paint.
- In the background I had a massive window front delivering a) an extensive overall volume light and b) a soft and even back/rim-light on the model. Outside was greyish weather so this rim didn’t produce any extraordinary highlights (that I was actually looking for!).
- Rim/Hair light: I installed a second flash head to the left behind the model, equipped with a standard reflector and a 20 degree grid. The idea was to create a controlled, additional highlight (area)…but it just disappeared when it hit the model’s dark hair. The distance to the flash was simply too big. But I had no chance to place this light any closer as we were working on a very narrow aisle. Trying to bring it into play was a waste of time and effort…
Posing & Expressions
So far, Ivana had passed all tests with flying colors (communication, personality, reliability) but now we were facing the second big “hurdle”: posing and expressions.
I always need to find out how versatile – and opposite – how straight to the point a model is able to act. Yes, it’s acting not just posing! Acting is the combination of body posing and facial expressions and gestures.
Ivana’s task was to simulate various moods and emotions: seducing, dreamy, romantic, teasing. And of course the alluring, subtle poses where C & S curves were involved.
All this had to be produced in a 15-minute timeframe because we were working according to a comprehensive schedule that we had to stick to.
Conclusion
For me it was once more a great experience and proof that I can rely on my instinct and system:
- My first impression and consideration during the initial communication.
- Choosing the full team and functions for a test shoot as best possible precondition.
- Working according to a plan and schedule I’ve created prior to the shooting date.
I’m very satisfied with the results; Ivana acted very professional, warmhearted and super sexy in front of the camera. She proved to be a worthy future workshop and BLOG+ model!
Tech Sheet
- 2x 400 Ws Monoblocs
- Key light: 1x Strip Softbox 1.3x6’ (40x180cm) & Grid, powered around 350 Ws
- Rim/Hair light: 1x Standard Reflector & 20 degree Honeycomb (Grid), powered around 400 Ws
- Nikon D700 full frame
- Nikkor AF 85mm, 1.8
Hello Dan!,
At last, an article about working new models or them in general and thoroughly enjoyed reading this. The problem I find with some models attitude, is that they say they are working models, but could not be bothered to communicate or turn up, let alone putting in any effort in with the shoot. One question, why model if they do not want to work. Do they think, money grow on trees?
What sealed this shoot, was your Swiss charmed Dan!!
Thanks for publishing another hit!
I’ve seen this Ivana somewhere before, correct me if I’m wrong, is this Vicka Starr?
Hello Roy,
thanks for reading!
No Ivana is not Vicka Starr (/posing/visual-fashion-nude-glamour-posing-guide-by-dan-hostettler-vicka-starr). Ivana is a Czech glamNude model while Vicka is a Russian artNude model.
Attitude: I am very lucky here in Prague/Czech Republic with the girls. They have a great, open minded and reliable attitude and they love what they do. I guess it’s a cultural thing yet also age related. The too short, 18 years old wannabees are mostly a pain.
One thing I really always triple check is: do they already have a professional port (online). If yes they seem to understand (somehow) the business. If not it’s a waste of time (at least for me). I am not helping newcomers to earn their merits….
Cheers,
Dan
I really loved this article. There is a vast degree of difference in working with an experienced model which only goes to show that modeling is every bit a profession that takes real work. While I appreciate new models that want to learn and absorb techniques from the photographer, I find it difficult to help them out too much and still concentrate on what I am trying to get out of the shoot. I have had sessions tho, where the model pushed the session too much and we got off track from my idea. It is important to keep focus on who is in charge as no boat needs two captains.
Hi Pete, thanks for reading and your comment. Glad you like the insights!
As stated in another reply I am not working with newcomers. I never can use the results and I can’t afford to help others getting a modeling career started.
I also mentioned in my posts a few times (my approach) that it’s fine to listen to ideas your model has (mostly newcomers, bcs the pros are just doing what you want) – but but after listening carry on and do your stuff.
You/we are the directors/producers/photographers and we need to own the session/moment/story 🙂
So no fear and do your thing. You’re the boss. Except – probably – you have agreed on a TFP shoot… – then collaboration works slightly different 🙂
Best,
Dan
First, love the article. I had the pleasure to shoot Ivanka a couple of years ago.. She is among the best models I have ever shot with.
Hi Rob, thanks for reading. Must have been a very pleasant shoot when working with Ivana!
I’ve shot hundreds, perhaps well over a thousand models and 95% of the time or more, I’ve never met them before I shot them.
Usually, I ask them to simply “bust a move” or two so I can quickly gauge their skills and comfort levels in front of the camera. It only takes a few shots or so for me to know how much direction I’ll need to provide.
If the model is very experienced, that doesn’t mean I don’t provide much direction, I still do, but that direction tends to be more abbreviated, requiring less detailed instructions. I’ve also shot more than a few models who didn’t speak English and that requires a different approach to directing them, often with me mimicking the poses and expressions I’m looking for. Since I look like an idiot doing it, it usually results in more than small amount of laughter on the sets.
j
Hi Jimmy thanks for commenting and your insights!
D.
Thanks for your articles.
I love reading them multiple times to pick up tips on how to do these shoots.
You have amazing models too.
This article is particularly helpful to me.
Now I have to start saving up money and vacation time so I can do some shoots over there.
🙂
Hi Kenneth, thanks for reading and your comment.
Looking forward to welcome you here in Prague 🙂
Hello Dan,
Nice write up! actually I worked with Ivana this summer in Oslo. A great model, also on the communication side. So nice to read about your experiences about communication. It’s so true; if the communication is bad, the shoot is most likely not going to successful either. I’ve even started to make this clear on my MK (Model Kartei) and MM (model mayhem) pages: no reply after 3 days I’m moving on. But my experiences with professional models has been very good so far. They just have to in this competitive market. It’s more problematic with the non pros or ‘wanna bees’. So my advise to everyone who wants to get involved with nude and glam photography is to pay a real model, it’s so much more rewarding in all aspects.
You can see some of my shots of Ivana on this blog. Find me under community, it’s the 3 last pictures on my showcase.
Gisle
Hello Gisle,
thanks for reading and your insights! Great you’ve worked with Ivana – she’s traveling a lot 🙂
I agree with you that there’s almost no troubles with the professional ones. And yes in our genre of photography I also very recommend to book paid models. Actually I do not know any of them who would do nudes on a TFCD base. Unless they are absolutely newcomer. But as said: a) I can not afford to work with newcomers and b) these ones are the most unreliable “models” on this planet…
And here’s the link Gisle mentioned (his port on BLOG+): /reader-submitted-sexy-women-photography/gisle-daus
Cheers,
Dan
One thing I have not yet seen you mention in any of the blogs is the time that it takes to start working well together. I have noticed that photos get much better after 30-60 minutes of working together. The time varies with the model, and it still takes at least 15 minutes even for models with whom I have worked several times (so we already know each other and how to work well together). A friend mentioned that, back in film days, he would run a “roll” of film in the camera with no film in it, just to avoid the low good photo/cost ratio. With digital, it’s no big deal, and I am happy for any photos I get from the first part of a photo session.
Because of this “start-up” time, I schedule sessions that last at least two hours.
Regarding working with new models, I tell potential models in the initial conversation that the worst thing they can do is simply no-show with no communication. That immediately means no future work. I have only had this problem with people new to modeling. I do like working with new models and helping them get their portfolio together, but only of it provides a mutual benefit. We do photos for her portfolio (I often put these first) and we work on my personal projects that are not generating income (but might someday. Or might not). As you can probably guess, these sessions are all TFCD + model release.
Hi Kenneth, thanks for reading and your detailed input!
Great point you mention: the warm-up time! I guess I will dedicate this topic a separate post…
I absolutely have the same starting point: the first series – or at least the first couple shots are for the trash. Both, with new model or the one I know. It’s always amazing to see how things during the shoot develops and then going back to the first set:-)
I always start in the very beginning with shooting very close/portrait. This gives me immediately a feeling and a base for real decisions about the model’s charisma. Then I take from there. And mostly at the very end I am doing a short dedicated portrait session again – this time for the real usage:-)
Hi Dan, may I come with a slightly boring question. Since you’re a Cannon shooter most of the time, I was a bit surprised to see that you did the session with Ivana with a Nikon D700. I’d be interested to know what you think about this camera. It’s the camera I’m using 90% of the time. Sure I want to upgrade, but I can’t find a good enough reason yet 😉 the ergonomics are great and pictures quality good enough for me.
Hi Gisle,
thanks for your question. Though I have no clue how you conclude that I’m a Canon shooter (/articles/whats-in-my-camera-bag)? :-))))
I am a Nikon shooter ever since (25 years). Still using manual Nikkor lenses on the newest bodies (yeeeey!)
I used the D700 (after D300) for a few years now. A year ago I bought the D800 mainly for shooting video first (camera is too good for video only…but that was my need). D700 is very fine – even with 12.1mio pixel.
Now I am using the D800 more regularly for stills (36.6mio pix)…- But I get tears in my eyes in post production. Toooooo many details to wipe out. And: I need better lenses. Xsssssss…..
Stay with your D700. If you want to upgrade I guess the D750 is now fine too! (http://petapixel.com/2014/10/14/nikon-d750-review-nikon-youve-created-monster/)
Hi Dan,
Thanks for the reply. Sorry, I must have remembered wrong and mixed you up with a different photographer. Actually I also find the D800 to have too much details for portraits, it shows every flaw in the skin! I can borrow a D800 when ever I want, but I don’t bother. The files from the D700 are so much easier to work with, and finally when the pictures are edited, I’m not really able to tell the difference. Sure, the D750 looks nice, but in that case I’d rather get a used D800 for less money. So yes, I’m gonna stick with my D700 for a while 🙂
As for lenses I like to stick to primes like 50 and 85mm. Sure, the 24-70 and 70-200 are awesome, but very big and expensive. Anyway, I usually don’t want to get wider than 50mm and I want to keep the same mm within a set. With a 24-70 it’s easy to get to wide.
Good point about some cameras being a little too high in resolution for portrait work. It’s ironic the way many portrait photographers do everything they can to soften the light and, therefore, the skin… yet at the same time they are enamored with cameras that produce images of higher and higher resolution with greater detail. I still prefer my Canon 5D classic for portraiture. I have a 5D2, which isn’t as high a resolution camera as some newer models but it’s higher than my 5D1. Yet I’d rather shoot portraits, be it glamour or something else, with my 5D1.