Some Serious Questions For Photographers Who Work With Models?

Question

Many a time I’ve studied models in fashion and photo magazines for inspiration when wanting to paint a portrait and quite often I am impressed and sometimes amazed by the expressions conveyed in the poses, by the settings themselves or by a combination of both.

I’m just wondering how such impressions are created? How much of it comes from the coaxing or coaching of the photographer? How much of it is left up to the model to provide? What percentage of these wonderful expressions and impressions are purely spontaneous? What percentage come about by ‘accident.’ By accident I mean you take a hundred photographs and a few are usable. And what percentage of the settings, the backdrops are chosen by the photographer and what percentage is ‘suggested’ or ‘demanded’ by the client (like by a magazine or dressmaker, etc.)?

Answer 1

1) How much of it comes from the coaxing or coaching of the photographer?

The greatest photographer in the world will never get a great shot from a crappy (or crabby) model. When I was shooting models I considered the session to be a collaboration, a dance of seduction between myself and the model with the camera between us for insulation. The best models have a "love affair" with the camera. The more intimate the relationship is between photographer and model (to a point -- and I'm not referring to physical intimacy) the more relaxed both are and the better the interaction. If you don't like the person who is modeling you'll only have really bad photos. If the model doesn't like you the result is the same.

2) How much of it is left up to the model to provide?

The photographer (or someone else) sets the scene. A good, experienced model needs little direction during the actual shoot as long as she understands the look, the mood, the point of the photo. That's why really good models are in such great demand. It takes an actress with a good intellect to be a great model. So the photographer and the model bring completely different things to the shoot. It is a collaboration but it's not a 50-50 one. Each brings 100% or it's not going to work well. The model brings the script and her "lines" are in her expressions and poses. The photographer brings photo skills; lighting, composition, exposure, timing.

3) What percentage of these wonderful expressions and impressions are purely spontaneous? What percentage come about by ‘accident.’ By accident I mean you take a hundred photographs and a few are usable.

Almost none are by accident. I could say none. Sometimes a photographer will get a great photo in an unguarded moment. For example, the model is taking a break and the conversation results in a pensive expression or lovely smile but the photographer is there to capture it -- it's not an accident.
Also, when a model is being paid 4 or 5 or more thousands of dollars an hour a photographer will get "his money's worth" by shooting literally thousands of photos. With a motor drive you can get 5-6 shots in just a few seconds. Your assistant is standing beside you with another camera ready to go. When you've shot 5,000 photos you're going to have 2 or 3 good ones! Each photo in a layout in Elle, Vogue, Harpers, W, etc. is the final pick from a choice of thousands. That's what photo editors do.

4) And what percentage of the settings, the backdrops are chosen by the photographer and what percentage is ‘suggested’ or ‘demanded’ by the client (like by a magazine or dressmaker, etc.)?

Normally, unless the photographer is shooting for his own book or doing a shoot on spec the photo stylist, photo editor, managing director, hairstylist, makeup person, wardrobe mistress and a few dozen others already "know" exactly what they want. Sometimes a really great photographer gets carte blanche to do his thing or he's hired because of the style of photos he's become famous for creating. For example, the macabre photos of Helmut Newton.

The photographer and the model are both "hirelings." They're talented and expensive hirelings but they are employees of the magazine or advertising agency or whomever hired them.

That's why models and photographers will often do collaborative projects just for fun, just to be able to express their own creativity. If you can find it in a library or afford it, get a copy of the book Veruschka: Transfigurations. Veruschka was a famous model in the 1960s and was in the movie "Blow Up." After modeling she became a painter. In the 80s she had an idea for a photo project she wanted to do, painting her body to blend in with the background, approached a photographer and this amazing book was the result. Here's a copy that already sold on eBay for only $65 which is way to little for a rare book. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200136050805
She also did some great collaborations with Peter Beard as animals of Africa. Look her up on youtube and view some of her self-portraits http://www.veruschka.net/NEW/pages/images.html

Answer 2

Great pictures are a collaboration. There are so many factors.
The first is the relationship. A strong sense of trust must exist between the photographer and the talent. The photographer usually must have a strong sense of self. He must be able to communicate what he wants with out being bossy. There must be direction but many make the mistake of over directing and then all spontaneity is lost and the picture becomes rigid. I find that sometimes it isn't what is said but how it is said, What I mean by that is the tonality in ones voice can really control the mood of the shoot. There are some models that are so good that they innately know what the camera is seeing and how to react the fluid changes a shoot takes.
As far as the look of the ad. The rule is, the bigger of the ad the more preproduction went into it. If it is a huge ad then most likely an ad agency designed the Ad well in advance of the shoot, sometimes even before the photographer is hired. At this point the photographer is hired to execute the vision of the ad agency. The photographer will be the one to actually pick the locations, backgrounds etc. But this is usually done only with the approval of the agency.

Answer 3

In my experiences, I have always had more success with subjects I could connect with on a personal level. I believe you have to get to know your subject and there must be some chemistry between both artist and subject. The ratio, I would have to say should be 50-50. Obviously that is not always possible but when I have done weddings, or senior pictures, I try to meet with the people prior and get an idea of their interests, ideas, etc. and do my best to study the subject prior to engaging in the project. Good luck, hope this helps.

Answer 4

A large amount depends on the experience of the model and what the photographer is trying to convey in the photograph. I will give her what I am looking for and she will start and I will either add to it by saying "now move your eyes slightly to the left" and if I think I have what I want I show the model and we have what "we" are looking for.

Hope that helps,
Kevin

Answer 5

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Answer 6

they're all computer-animated these days