Vital Statistics

It is very important that you get this right. On your Comp Card, modeling sites or at an agency, it is one of the first things that people will look at when they are seeking a model. A head shot, a full length shot and your vital statistics. If your vital statistics don’t match what they are looking for they will pass you by, which is fine, unless of course you have them wrong, in which case you have just missed a modeling opportunity.
 
Worse still, if they do seem to match and they like your look, when they ask you to come in and see that your size is not what they were expecting they will dismiss you, think that you are just wasting their time and not bother to ever ask you back. Likewise it is no good adding an inch to your height or subtracting an inch from your waste. They are use to assessing peoples looks and figures, you will likely be just one of several models they will be looking at and if the other models are much different in size and shape to you, it will stick out like a sore thumb.
 
Carefully measure your bust, including your breast. Measure your waist at it’s smallest point, but don’t force it by sucking in your breath and finally measure your hips at their fullest point. You should be looking at measurements in the range of 34-26-34 plus or minus a few inches. (32-24-32, 36-27-36) If your proportions are in this sort of range that is fine. If your bust and hip sizes are wildly different or your waist is not about 10 inches less than this double check your measurements.
 
Also, be very close on your height, within half an inch at least, measured in your bare feet. There is no point in adding to your height it will be noticed. And likewise measure you weight accurately. Your weight is just a general guide, muscle is heavy and can very well give you a better shape than a that of a lighter counterpart.
 
Finally, don’t be surprised if an agency measures around your wrist or ankle. This is something they will often do to get a better idea of your body mass, your fat to muscle ratio. Be straight forward and honest about your size there is nothing to be gain by fudging your measurement.

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Testing and Go Sees!

Testing. You may have the perfect look for a model but if you can’t project yourself in front of a camera you are not going to find any work. If an agent thinks that you have potential their first step is often to send you to a photographer to do test shots. This may happen a couple of times to see how you work in front of the camera. The photographer will not only send the agent the photographs but also a report on how he found you to work with. Were you prompt, professional etc. The result may mean the difference between getting signed or not. Photographers and editors may also do test shoots before committing to working with a model. Although these are not paid, you should be able to get some pictures for your portfolio.
 
Go Sees. Unless you are an internationally known model you will be sent to go sees. Whether it is for a fashion show on the catwalk, editorial pages for a magazine or a photo shoot for a catalogue, in fact almost any modeling at all, you will be ask to attend a go see. If you are sent to Paris or Milan on a contract a lot of your time will be spent going to go sees. This is not paid time and very often you will not be what they are looking for at this time, don’t take it personally. Let it go and head for the next go see. It is not glamourous, it is time consuming and hard work, but it is the way that you are going to get your name and face in front of the right people. Do not expect an agent or a manager to do all of the work for you.

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So what is TFP?

If you are new to modeling and don’t have a established portfolio or “Book” as it is known in modeling circles, you will need to develop one. Nobody is likely to book you for a paying job unless they have the proof that you can carry out the job successfully. In other words, they want to see that you have done something similar on a professional level before they will hire you. This is fully understandable. If they are being paid for the shoot they must satisfy their client or they will not get another job. Even if it is just for their own book they maybe employing a makeup artist or booking time in a studio.
 
You could go to a studio and book a photographer to do pictures for you. This is an expensive option, the photographers time and skills and equipment as well as studio time and a makeup artist time. Expect to pay hundreds of dollars. So before going this route, make sure that you view a sizable body of the photographers work and that you are happy that they will be able to produces pictures that you will not only like, but that you will be able to use. There are many photographers out there, all to ready to take your money for very little in return.
 
So what are the alternatives? Look for a photographer who is willing to work with you on a time for prints ( TFP ) arrangement and or time for files on a compact disk. ( TFCD )  You still want to be sure that you like their work and that you are going to be happy with the results, but this time if you don’t get the results that you need all you have wasted is you time.
 
Be sure of exactly what you are going to get for your efforts and do the usual background checks etc. Always take someone with you, always! You will not only get the start of a modeling portfolio, you will also gain valuable experience. There is far more to modeling than just showing up, so be prepared to work at this. It won’t happen overnight.
 
You may very well be required to sign a model release. If so read it through carefully, take it home with you and read it at your leisure, don’t be rushed into sign it.. This allows the photographer the full use of the photographers created, but once a release is signed you will have no say in the use of your image. And likely no recourse should you disapprove of the final use of these pictures. More about model releases at a future time.

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Shortcuts!

In photography as in life the only real shortcut is to do it right the first time!

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The Make Up Artist!

Before

Before

After

After

Never underestimate the value of a good make up artist. Many photographers behave as if they have been stuck with a younger sibling for the day. When all they want is to go out and play. But make up is so much more than just a lick of paint.

Yes the application of make up will enhance the look of any young women, but it is so much more than this. As a model sees the look they are trying to achieve develop, she begins to feel glamorous. She feels pampered and special, her confidence begins to grow.

 

By the time she is ready for the shoot the hardest part of your work is done. If you are ready with your camera and can take control of the lighting, you are well on your way toward a successful shoot.

Never forget to credit the make up artist for her part in the shoot. If you are paying her fine, but don’t be slow in giving her a copy of your best shot of the day. If you put your name on the bottom of the picture and she adds it to her portfolio, many other potential models will see your work.

Also add a sample of her work on your web site along with a link to her site. Then ask her to do the same for you, it builds traffic for both of you.

Lenny’s make up was created by Racquel Lacson.

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Model Safe

Just because he tells a good story or shows you a few good pictures, it doesn’t mean it is safe. If you are thinking, it won’t happen to me, you are putting yourself into a high risk group.

Model, but model safe.

Always find out who you are going to be modeling for. Get a home phone number not just a cell number. Check for the name and address in the phone book or do a reverse look up of the number online at the local phone companies web site.

Does this person have a web site? If it is their own domain name go to whois and check that the information they give agrees with the registration for that domain.

Ask for references. Who else have they photographed? Phone and ask, what are they like to work with? Would you work with them again?

Find out if the photographer intends to use a makeup artist. Who is it? Get a number and phone to confirm that they are booked to work with you.

Does the photographer have a membership with an online modeling group, like One Model Place or Model Mayhem. Check their profiles, check their work, look to see if there are any bad reports filed against them. Does the photographer have a membership with a professional body?

Finally, always find out exactly what it is you are going to be shooting and always take a companion with you. Make sure that the photographer knows well in advance that you bring someone to all of your photo shoots.

Never take a partner, it will be the end of you relationship or the end of your modeling career. Find a supportive girl friend or take your mother with you. In fact if you are under eighteen always take your mother.

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If you can imagine it!

Faerie on a HydrangeaIf you can imagine it, you can create it. Gone are the days when the photographic medium restricted what you could achieve in your pictures. Now with the use of Corel Photopaint or Adobe Photoshop, even Photoshop Elements, the only limit is you.

In Faerie on a Hydrangea, the model was photographed in the studio against a plain background. Her wings were attached to a lighting stand and placed directly behind her. The Hydrangea was photographed later, outdoors. Then using layers and objects the picture was pieced together.

The Hydrangea was cut away from its background and used as the base layer. The model was separated from the background and placed above the first layer. The wings were masked and then solarized to add interest to them. Finally a dark sky was created in Photopaint and stars were added. One star was placed on the very tip of the wing and the transparency was adjusted to allow the Hydrangea to be seen through the wing.

 

Spring BlossomAgain in Spring Blossom the model was photographed in the studio and removed from the plain background. The flowers were photographed and used as the background picture. The cut out portrait of the model then became the next layer and finally a couple more flowers were added and blended in to the picture using feathering to soften the edge. The eraser tool to remove some unwanted areas and an adjustment to the transparency of the upper layer objects.

Layers and Objects take a while to master but it is well worth the effort. understanding those two concepts and how to create and use masks, will take you a long way on the path to becoming a truly creative photographer. Enjoy the journey.

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It is all in the light!

TreedIt is all in the light. Yes, you need the focus and the exposure, the composition and the subject matter, but it is the light that really makes or breaks the final image. Outdoors you are relying to a certain extent on the weather. However you have to set out to create the shot you want, even if it means waiting for the right conditions and going back to your location when all of the elements are right. This picture was taken just inside a wooded area with the sun shining down through the leaves of adjacent trees. The biggest challenge was to control the contrast. Don’t burn out the highlights but keep some detail in the darker areas. This was shot on film, however these days you can choose to turn down the contrast on your digital camera if you are shooting jpegs or shoot raw and control the contrast as you process your files. Don’t forget to check your histogram to make sure your exposure is spot on.

Girl on the Red Couch

Girl on the Red Couch was shot in the studio, were you have full control over the lighting. This means that you must also take full responsabiliy for the lighting. The direction of the light, the lighting ratio and the contrast and exposure in your picture. Here I placed my main light behind the couch lighting the wall, but spilling over onto the models back. I then used a fill light in front of the model, adjusted to just give me some detail in the blacks and I used cards to limit the spread of light. Leaving the corners of the picture to darken and keeping the main focus of attention on the model herself. This shoot was planned and I took very  few pictures to achive this final image, but often ideas present themselves during a shoot, so keep shooting and develope your technique.  Colin Mac Arthur

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So you want a modeling contract.

So you think that you would like to get a modeling contract!  Well it may be a lot easier than you would think.  Because it is not getting the contract that is the hard part, it is getting work as a model and that is the secret.

You see just by walking through the door of far too many agencies you will find them all too ready to sign you up. They may say something like ” you have an unique look”, ” I’m sure we can find work for you”, ” you would be a great addition to our group of models”. Here take our contract to your lawyers to review, knowing full well that you won’t have a lawyer, but it makes them sound serious and sincere. So you sign their contract. You walk out the door on cloud nine. And you go home and wait.

First of all, now that you are signed up, you can’t sign with anyone else. Your theirs and even if you should find work Read the rest of this entry »

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Artist Statement

My camera is my sketch book, my computer and my printer are my paint box and easel. My aim as an artist is not to show you what I see, but rather to show you how I feel about what I see. I endevour to capture the personality and the feminitiy of my subjects and to leave on paper a moment in time that will transend us both.

 Colin Mac Arthur

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