Directing & Collaboration Advice
Recently, a well-established (and super-experienced) glamour/nude model I know, one who works regularly by the way, was complaining on Facebook about one of her recent shoots.
She wasn’t angrily complaining as much as firmly voicing her displeasure with photographers who micro-manage models during their shoots. Trust me. This particular model knows what she’s doing in front of a camera… and then some! I know exactly where she’s coming from. As a photographer, I don’t like clients who try to micro-manage my shoots. When or if they do, it’s like throwing a monkey wrench in the creative works.
What Some Photographers Had to Say
A lot of photographers commented on her post . Some of them, a fair number of them in fact, said things along the lines of, “If I’m paying you and I want to micro-manage you that’s my business.” Or things like, “It’s my right to direct you any way I want!”
The ‘Boss’ Factor
First off, photographers don’t have any special or task-master “rights” when shooting with models. When a shooter hires a model, they don’t ‘own’ the model for the duration of their shoot, nor is the model their employee in the normal sense of the word. Sure, photographers are the ‘bosses’ of their shoots (for lack of a better term). But as everyone knows, there are good bosses and there are bosses who are assholes. (Most of us have all either had or have bosses who are assholes.) I’ve never done anything close to my best work when some asshole of a client was trying to dictate every detail of my shoot. In fact, it has led to some my worst work. Being an overbearing, micro-managing boss might work in the military, a factory, on a construction project, or in a retail store to name a few workplaces. Photography, however, is a creative endeavor, whether you’re shooting for work or for pleasure and entertainment. In my experience, creative endeavors rarely result in successful, creative work when someone involved in the process is being an asshole.
Finding Creative Balance
Directing models effectively and efficiently takes practice, skill, and experience. The photographer’s job is to gain rapport with the model, create the proper balance on the set, and get the best out of the model.
Call me crazy but gaining rapport with a model and directing her in ways that make great photos doesn’t often happen by being an overbearing, micro-managing jerk. It’s an ensemble process; a team process. If you’re working with an experienced model, it doesn’t mean you don’t direct her, but you’re really going to be wasting your time (and money) if you’re not listening to the model’s ideas and input, allowing her to contribute to the process. If/when you don’t give the model some creative ‘space’, she’s likely going to give you bare minimum of what she’s capable of. Generally, the more experienced a model is the greater (and better) her contributions will be. Why anyone would work in ways that do not take advantage of a model’s skill and experience is beyond me.
As a photographer, have you selfassessed your shooting demeanor? You might not be getting all your model is capable of giving you simply because you’re being a micro-manager.
Great article. Although I haven’t been shooting this genre for long, I’ve found that when it’s a collaboration, and your model is having fun, that’s when the best shots happen. Her poses are relaxed and flow easily. I take breaks and show them how great they look, and I like to give the model the freedom to improvise as we shoot. It just works for me, and so far the models all have wanted to work together again. Maybe I’m doing something right?
Gary: That the models you’ve shot want to work with you again speaks volumes about your ‘set-side manner.’ (https://sexywomenphotography.com/interviews/setside-manner-appropriate-behavior-on-photo-set/)
Like you, I work hard to make my sets ‘fun’ sets.
Jimmy,
I echo your sentiments completely. I’ve had the good fortune to work with a number of very gifted and experienced models, mostly in the art nude genre, and I am constantly amazed at what these talented ladies add to creative process. I often feel that I’m more of a “photojournalist ” capturing a creative “moment” than some sort of director. I still control the lighting, I still control the framing and I choose which “moments” to capture, all of which contribute to the success of the image. And I can still “fine tune” a pose that the model gives me if I need to. That’s more than enough control of the process.
Yep. I hear ya, Joe. Often enough, those are my sentiments exactly.
Jimmy, I love your work and your advice, but your article assumes paid, experienced models. Those of us who, by necessity, work with models who are new to the business, and have to deal with the “what do I do?” when our model stands in front of the camera, have to take a more directive role
Spot on with this article Jimmy. I’ve often found that the play off of ideas between the model, photographer and even the stylist and HMUA have been a big help in the success of a shoot. Those photographers that are control freaks are missing out on a huge opportunity.
Good point, Peter! I think more than a few photographers forget that it can be an ensemble production where everyone involved contributes to the end results. Sure, shooters end up with most of the credit — as they should — but those crew people can be huge assets… if and when they’re allowed to be and encouraged to be. That doesn’t mean giving away your role as ‘skipper’ nor allowing creative anarchy on a set but I’d be lying if I said I’ve never shot a (what I considered) a terrific glam shot where others’ contributions weren’t as important to the finished pic as my contributions were.
Hey Jim! I also work with plenty of models who are less experienced. Sometimes, with models who have almost no experience at all. Sure, those models require a lot more physical direction in terms of pose and expression. But that doesn’t mean I don’t look for ways to include them in a creatively collaborative way. I want them to also feel a sense of ‘ownership’ in the results. They often pick up on that fairly quickly. Also with inexperienced models, I try to be even more aware of my demeanor, working even harder to gain rapport. Doing so is a terrific confidence builder for them and, for the most part, the more confident in front of the camera a model is, regardless of their level of skill and experience, the better the photos will be.