Model: Nikki

[ACArmstrong]

Shot in my home studio with hotlights:

Canon 10D, 28-105mm USM II - Comments and criticism are welcome!













You can see a full gallery of the entire shoot by using the links below.

Nikki in Color

Nikki in BW

[natatbeach]

I really like the third one and last one a quite a few of the others...nice work as usual.
;)

I really like how relaxed she was...although a little odd (angle wise) I liked the one shot up from her feet towards the chair)...again very nice

[Old Timer]

Very nice group of images Andy. You have come a long way with your studio skills in a very short time I am very envious of your talent. It is very obvious that you are working hard at improving your image making techniques and skills. You are inspiring me to get out and put a lot more effort and though into my photography. I'm afraid that I get lazy and don't pay enough attention to details much to often. Thanks for sharing with us.

[ACArmstrong]

Thanks, Natalie.

This model is probably the hardest I've had to work with so far. She's a beautiful young lady who has modeled before, but you really couldn't tell it from the shoot. She couldn't move from pose-to-pose at all - She'd pose for a second or two, I'd shoot one shot, and then she'd completely come out of the pose, put her fingers to her mouth [thinking], and say something like, "Maybe I could do something like this?" and then pose again for another couple of seconds.

It was incredibly frustrating, because I couldn't gain a rhythm to the shoot at all, and even if I saw a nice pose or an excellent look - I had to jump on it or it was gone a second later. Usually, after working with a model for about 15-20 minutes - I can gain a rhythm with her and begin to anticipate what pose is coming next (where her eyes will look, where she will move her hand next, etc). That was impossible with this model.

She really wants to get work in this business - that was the purpose of this shoot. After the shoot was over, my wife and I took she and her husband out for dinner and drinks. I spent a good hour talking with her and giving her my (non-expert) advice on what she needed to do to become a better model. - After it was all said and done - she thanked me for my advice and asked when it was possible to do another shoot.

We'll see how she does the next time.

[ACArmstrong]

Ya know what, OT - your comments in my threads always put a big smile on my face. I really have put a lot of time in effort into learning the craft of lighting and the mechanics of my camera and lenses. It means a bunch to me that someone noticed. Thank you.

BTW, I received my 15mm diagonal fisheye f/2.8 on Friday - I can't wait to do some really artistic portrait style photos with that thing.

[Old Timer]

[BTW, I received my 15mm diagonal fisheye f/2.8 on Friday - I can't wait to do some really artistic portrait style photos with that thing.[/QUOTE]]

You are taking on a real challenge with a 15mm. Wides can be a lot of fun and give you some great results, but at the same time be very challenging. The widest lens that I own is a nikkor 24mm manuel that I use with the older Nikons, it's a great little lens so much so that I was thinking about getting an auto focus model for my N80, but when I bought the D70 with the 18-70mm that became a mute point. I'll be looking for your first post with the new lens. Enjoy your holiday.

[Asylum Steve]

"She couldn't move from pose-to-pose at all..."

Andy, I sure you've discovered that every model is different, each with posing strengths and weaknesses. Much like actors, different models sometimes need very different "motivation" to get them to do what you want to get the shot you have in your mind.

Some need to be pushed, some need to be fussed over, some need to be made to laugh (that's the easiest for me), some need music, some need alcohol, some need to shown exactly, some need to be left alone to do their thing. Some are naturals, some can learn how to get much better at posing, some will never get it...

As the photographers, we're ultimately in control of the shoot, so we need to have some techniques to help put the odds in our favor.

First and foremost, you need to have a clear picture in your mind of what you're trying to create, even if it's just a "sketch" or "storyboard" of a look or lighting scheme. Even experienced models like to have some direction, and sometimes that's all that's needed to get them going.

A lot of shooters don't realize this is the most important as well as the most difficult aspect of a shoot. I spend MUCH more time planning my shoots than actually executing them.

Ok, so it's pretty clear you already do these types of things, but as you found out, sometimes it's not enough, and you waste a lot of time not getting anything good.

When it comes to posing, I use two main techniques with my models, and I usually find one is more successful than the other, but it changes from model to model. The trick is to figure out what works best for that shoot, and do it as quickly as possible...

The first type of posing I call mannequin posing. It's exactly as it sounds. I tell the model that I will direct EVERY body position and movement, and they are to hold the poses, only making very slight changes as I tell them to. This can be a tiring technique (you look through the viewfinder and evaluate the shots very precisely as you go along), but it usually works well with beginners, or those that don't like to think for themselves too much. It is also the more rigid of the two, so what you gain in control you may lose in spontaneity, but sometimes that's a tradeoff you're willing to accept.

The other type of posing I call freestyle, and again it is as it sounds. I give the model an emotion or attitude and a general idea of how to position themselves, then I have them start moving. Music can play a large role here, as the movements are often a controlled dance that need an external energy to fuel them. This is also when you need to interact with the model much more, giving them feedback as to what works and what doesn't, sometimes in a rapid fire style.

Think Austin Powers' "YES! YES! YES!...NO!!!" Ok, I'm kidding. Sort of...

The key here is a rhythm of movement, especially if I'm shooting with studio flashes. You have to work out a timing so the model will "hit" a pose when you're ready to trip the shutter. They need to think and have a sort of clock in their head, knowing that I'm going to shoot every so many seconds, then the flash will recycle, then I'll shoot again. The more consistent you are with this timing, the easier it is for them to know what to do and when.

Another thing that will help is making sure you do a "warmup" session. I usually waste the first couple of rolls (CF cards?) just getting comfortable with a new model. You just have them moving a bit with no real specific shot in mind. You start the dialog between the two of you and see how it goes, and see how they look through the viewfinder.

Sometimes the entire first look and lighting setup is only a warmup, and you don't really start geting good stuff until you change some things. Often the model needs to get an idea that you know what you're doing before they start to really get into it. I hate to say this but sometimes it isn't until the SECOND shoot with a model that we both start to click...

You probably already do this, but just thought I'd mention it.

The final thing I use is the support people on the shoot. Most often, the stylist as well as hair and makeup artists are on the set, and it only makes sense to get them involved with your ideas. Often they end up directing a model as I'm looking through the viewfnder, and it can help tremendously.

I think under the circumstances you got some really good results, and I think the two of you will work much better together as you shoot more...

[ACArmstrong]

Thanks for the advice, Steve - some very important stuff in your post. I'm a freestyle kinda guy, and like you the first setup is usually just warm-up and raport-building. I'm very, very vocal with my models - I tell them when I like something - sometimes they break down in laughter when I really get going with "Oooh Ooooh - beautiful - absolutely beautiful - eyes to me - nice - very nice" - I forget that I'm actually saying these things aloud.

I've not done much with the mannequin technique you've described, though I always have an idea that I convey to start the freestyle process and then flow from there. If I had to guess - and judging from her age and her experience years ago - I'm thinking that this might be the style in which she modeled previously. She was probably told exactly what to do and not to move.

As to flash - I love shooting with hot lights and giving extra breaks - I can shoot at any second and not wait for recycle - well - there's that and I can't afford a good flash setup yet.

Thanks for everything Steve - I appreciate it.

[Old Timer]

Great reply Steve. This may be old hat to those that shoot a lot of models, but was great info for those of us that do mostly nature and sports. Everyonce in a while just about everyone is ask to shoot a friend or a friend of a friend that needs some decent photographs other than the Wal-Mart variety. These were good tips for us. Thanks for sharing your knowledge and experience.

[Asylum Steve]

Anytime, Andy. I've been there and know your frustration. I've also worked with many models just starting out, so I simply had to develop some working techniques that produced results without me getting angry and/or upsetting them because they weren't sure what to do.

I always start with the mannequin technique, as I've found that if I expect them to move right off the bat, and for some reason they DON'T or CAN'T, it really gets the shoot off to a bad start. Then the model begins feel self-conscious and might freeze up even more.

The mannequin technique is a softer and a more intimate interaction. I'm very gentle with lots or "good...good" or "yeah...nice". We get comfortable and that (hopefully) leads to the freestyle posing.

Yeah, when there's an energy, like you, I'm very vocal too. It probably does sound a bit corny or cliche to someone not in the business, but if there's a sincerity to your direction (and of course, your results), models know how to repsond and it works...

OT, you're absolutely right that this stuff can be applied to portrait shooting as well. If anything, when you shoot a portrait, the trust or comfort level is even more important as you tend to want to express a person's true character a bit more...

[another view]

Steve, thanks for the lesson. I'm starting to notice that the people I work with usually need some direction but I'm not the best at giving it.

Went to a seminar in April and saw Hanson Fong (wedding photographer) give a presentation on poses. He directed the couple (hired talent, I'm sure) thru a couple dozen poses in a few minutes. It was amazing to see how a slight movement made such a difference.

Nice shots, Andy!