Archive for ‘modeling’

August 17, 2011

New blog!

So, at the urging of many, I’ve opted to start a new blog.

Don’t worry, this one’s not going anywhere!  I’ll still be blogging here about modeling stuff.  But I’m moving all my fashion-based ramblings to a new spot.

http://suburbanstylechallenge.wordpress.com/

Feel free to subscribe!  I’ll be linking that blog to my twitter and facebook as well, so yea, if you stalk follow me in either of those places, you’ll likely be seeing the stuff.  I’ve only got 2 posts up so far, but have another one in the works for sure.

🙂

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August 11, 2011

On Integrity & Professionalism

Recently, I was slapped in the face with one person’s unprofessional behavior and dishonesty.  What’s more is that after expressing my disappointment in the situation, the offending party showed little remorse.  However, another person involved has shown what true professionalism & integrity are, which lessens the sting… sorta.  Here’s the story…

It started with a verbal agreement regarding compensation for working an event.  A few weeks before the event I was told (in person) that compensation would be $50 for the day, a selection of images for portfolio use.  I was also told I’d be in the designer’s catalog.  As an added bonus, I’d get a sketch of me in what I was modeling.  Typically, my rates are $50 an hour or $325 for an 8-hour day, which is how I’d have billed it since it’s cheaper.  However, because I’d be getting portfolio images & a tear sheet (plus a cool sketch), I made an exception and accepted the job at a significantly lower rate than normal.

Fast forward to the day of the event.  Call time was 12P & everyone was on time & ready to start getting to work.  In the beginning, things were running nicely, people were having a good time, & it was shaping up to be a great event.

Around 3P we started getting hungry, but there was no food.  Based on previous experiences, I expected there to be food provided at a 7-hour event, so I just brought a drink & a small snack.  Now, I wasn’t expecting caviar & chocolate mousse, but something to snack on throughout the course of the day.  Veggies, pretzels, cheese cubes, & sliced fruit are pretty typical of events because that stuff can sit out & is easy to eat.  But there wasn’t anything.

Normally, one would ask the person in charge what was going on, but he stepped out for an undetermined amount of time, leaving his event coordinator & assistant completely in the dark regarding wardrobe & accessories.  That meant that the models that were ready to shoot we weren’t able to, so 2 of those girls took a walk to find food.  Their options were limited at 3P on a Sunday on the Near West Side of Chicago & all they could find was Chinese, which they brought back.

As we were eating, the guy in charge came in & immediately reprimanded us for having food.  He told us we were unprofessional for eating food that wasn’t “proper model food”.  He then demanded it be put it away & said we shouldn’t be eating, but that if we were hungry we should’ve been eating something like fruit.  So, apparently, everyone should have just gone without food for 7 hours.  Talk about a morale-killer!  Besides, nothing makes people enjoy an event more than crabby models with no energy, or worse, models passing out because of low blood sugar.

If someone running an event wants his staff to eat certain things, it is up to him to provide that kind of food.  If he can’t provide food, then the professional thing to do is notify people that there won’t be food, & ask them to bring their own, limiting it to whatever he finds acceptable.   It is not unprofessional for models to eat behind the scenes, while waiting for styling and/or instruction, while still dressed in street clothes.

But then came the real knife-twist.  Shortly after the food was put away, we were handed a compensation agreement & asked to sign it.  It was different from what I’d been promised.  Suddenly, we had to choose between $50 for the day or 10 unedited images & 1 edit of the photographer’s choice.  No mention of the sketch.  I tried to ask the guy in charge a few questions, but it was pretty clear he was too busy to listen to me.  So, I sat & thought quite a bit about things, & really weighed my options.

If I walked, I’d have wasted almost 4 hours for nothing, literally.  No photos, no money, no sketch, no tear.  Leaving could’ve damaged my reputation with the other industry people who were there, & I’m not one to back out on my commitments; I act like a professional & respect people enough to stick with something once it’s started.  So I chose to stay, keeping my reputation intact & getting a little something for my time.

So I had to choose: a small amount of money, or one edited image.  I figured I could work with the photographer individually if I really wanted to, so I opted to take the $50.  Broken down, it’s $7.14 an hour.  If you factor in the $8 or so I spent on food & drink (which I wouldn’t have bought if I wasn’t working), the total compensation drops down to about $42.  Basically, I worked the day for about $6 an hour, & that’s not even factoring in the gas I spent on the nearly 60-mile round trip.

It bothered me that the compensation changed, & I wasn’t notified in advance.  I wasn’t even notified promptly at call time, which is when I would have been comfortable leaving.  Advanced notification of the change would have been the professional way to go about things.  Instead, it was just sprung on us nearly 4 hours into the day, when we’d already invested time & money.  But, I sucked it up & did my job as if I was getting paid my standard rate: with a smile on my face & without complaint.

After the event was over I asked the guy in charge about the sketch.  He acknowledged that that was, indeed, part of our deal & made a half-assed attempt to find it.  After a brief search, I was told he couldn’t find them, & that was that.  So no sketch now either.

Initially, I intended to just deal and learn from my mistakes.  But later I decided that if I didn’t speak up, no one would, & this schmuck would go on taking advantage of people because no one called him on it.  So the next day I wrote him a letter addressing all my concerns & asked to be compensated as originally promised.  I chose my words carefully & made sure it was written in a concise, professional manner.  I didn’t just pound out an angry note and send it off.

The next afternoon, I received a response.  He said that an agreement was made, but things didn’t go as expected, so the agreement was modified.  I signed it, & if I hadn’t, I wouldn’t have been used for the event.  He went on to say he was sorry I wasn’t happy, but the only thing he could do was live up to the written agreement.  Then, he had the gall to tell me that a lot of work went into the event, & he felt congratulations were in order.  He also thanked me, as if that would make it better, & told me that if I had a change of heart & wanted to work with him again, I should let him know.

Then, he called me not too long after responding.  I told him it wasn’t a good time because I wasn’t ready to speak with him, & hung up.  After careful consideration, I wrote him back & said that any discussion could be done in writing, as he had made it abundantly clear that he didn’t respect people enough to honor his spoken agreements.

He wrote me back the next day & said there’s nothing to discuss.  Shortly afterwards he posted on the private group for “preferred” folks involved in the event (which I am still part of) telling everyone, “Don’t ever believe that I don’t appreciate you all.  I am so glad that I choose each & every one of you to be a part of this journey.”  Uh huh.

There is a lesson here, though.  From now on, I will ask for a compensation agreement in writing, in advance, for every event I am booked for.   Upon arrival, I will not do anything without reviewing any paperwork that needs to be signed, & if that paperwork does not match up with what I received prior to the event, I will be leaving.

This might limit who’s willing to book me for events, as well as whom I choose to work with, but I’m ok with that.  I am tired of being taken advantage of, & I am no longer willing to allow it to happen.  If that means I book less events, then so be it.  As a hobbyist, I can afford to be picky.

I heard he “changed the agreement” when it came to numerous other involved parties, so the models weren’t the only ones who got screwed.  To top it off, it’s all just pouring salt in the wound, because everyone who worked the event was asked to promote the event through various means, invite friends, & really hype it up (and many of us did).  Some people’s names are attached to this person’s, and who knows what kind of effect that could have down the road.

Then there’s the true display of integrity & professionalism I mentioned at the beginning.  The photographer involved called me last night & we talked.  He had been unaware, & completely beside himself, that the person running things was using his product to pay people & that we were forced to make a choice so suddenly.  To “make it right”, he has offered all of the models involved a shoot at no charge.  He’s not comfortable providing the images from the event to the models, because it would violate his agreement with the event host, so he’s doing what he can to do something for us as a “thanks, & I’m really sorry you got screwed over too”. Yup, you read that right… he also got screwed.

So now what?  Well, I’m going to stay in touch with the photographer & start thinking about what I want to shoot, & communicate ideas back & forth with him.  Ideally, I’d like to shoot something he can use for his portfolio as well, because it’s only fair.  Chances are, I’ll wait until late fall to work with him, mostly because I’m sure he’ll be busy with previously booked work as well as with the other models involved.

A few people I’ve talked to about this have suggested I take legal action, because the “bait & switch” tactic he pulled could be illegal.  I’ve decided it’s not worth it to bother with screwing around with that, especially for such a small amount of non-monetary goods.  Chances are, this person will get what’s coming to him.  Word of unprofessionalism like this gets around fast in the modeling industry, as people don’t appreciate busting their asses to work with people who lack the integrity to honor their promises.

One can only hope that this person has the decency to not treat his paying clients the way he treated his staff.  I can’t imagine working with someone on what amounts to one of the most important days in your life & dealing with some of the unprofessionalism he exhibited.  Hopefully, when dealing with actual clients, this person is honest, sticks to his word, & is professional enough lets clients know if circumstances change & he cannot deliver as promised.  If I were in the situation to be working with him as a paying client, I most certainly wouldn’t take the chance.

I will definitely not be working with him ever again.  This person’s utter disrespect for the people he hired & abundant display of unprofessionalism has completely, totally ruined any chances of that.  I will continue to leave his name on my credits list in hopes that people contact me to check references.

UPDATE! August 30, 2011

I did finally get a money order for the $50 that I was owed.  I had to ask for it though, and was told on August 25th that the check had mailed the morning of the 24th.  I let this person know that it would have been nice to know of the delay, since the agreement said checks would be delivered by the 21st and not mailed on the 24th.  This is the response I got regarding that:

i didn’t mean to make you feel small. I appreciate you.

I told him, “Appreciation doesn’t pay the bills. Not that that matters, because going back on your word and not notifying people you’d made agreements with until well into the event doesn’t say “appreciation”. No, Robert. THAT says “I don’t give a crap about you and expect you to just be a doormat and accept it”. Nice try. I expect my check to be delivered by Monday the 29th. I’m giving you way more leeway on this than most people would…”.  Yes, cold and a bit heavy-handed, but frankly, I don’t care.  No one deserves the kind of treatment he has shown, and I’m not about to sit quietly and let him think that treating people the way he has done is ok, because it’s overwhelmingly not.

This was his response to me on the 25th, verbatim:

When i say I didn’t mean to make you feel small, I really was trying to let you know that you’re acting soooo small and UNPROFESSIONAL.

But you were even too small to even have caught on.

Now I’m BLOCKING you. And that’s what’s nice about facebook.

What ever it is that happened to you to make you so emotional is just not everybody else’s fault. And if emotionally you can’t handle life, go to doctor and get help, but whatever you do, DO NOT SLANDER OR HARRASS ME.

STOP EMBARRASSING YOURSELF. YOU SHOULD NEVER MAKE YOURSELF THE BUD OF OTHER PEOPLE JOKES. YOU ARE COMING OFF LIKE A CRAZY WOMAN.

LOVE ROBERT

Wow.  And yet I’m the unprofessional one, for desiring to be treated respectfully and compensated as promised, and for being the “squeaky wheel” in making sure that promises are delivered upon when the source has proved to be unreliable.  Right… anyway…

My money order came August 29th.  It was dated August 26th, two days after I was told “the check’s in the mail”.  It has been deposited.  Largely, I am happy.  I hope, however, that this person has learned that he can’t get away with treating people like shit.  If, that is, there’s anyone left in the area who’ll work with him…

July 20, 2011

Upcoming Event: A Sneak Preview of “The White Collection – LUXE”

I have the honor of modeling for bridal designer Atha Sharod in the Atha & Friends Present A Sneak Preview of “The White Collection – LUXE” event coming up on Sunday, August 7.  

Brides who attend the event will get a sneak preview of Atha Sharod’s The White Collection – LUXE, which features beautiful couture bridal gowns and honeymoon negligees.  Atha Sharod’s stunning pieces are made from 100% silk and French imported laces, and are custom made for each bride to ensure a perfect fit.  In addition to getting a chance to see Atha Sharod’s beautiful White Collection – LUXE, event guests will have a chance to sample wedding cake, enjoy music, food, champagne, gift bags and most importantly, the beautiful wedding gowns.  They will also get to experience a live photo shoot by Wedding and Engagement Photographer, Tuan H. Bui.  The photos from the shoot will be used for the catalog and website that the company will use to promote the collection.  Robert Sharod, the designer, says “I created this collection as a tribute to the American woman. I wanted her to know that she could be independent and yet be feminine at the same time” when describing his collection.  Brides, this event is one that’s not to be missed!

This incredible, one-of-a-kind bridal event will take place Sunday, August 7 from 4P to 7P, and will be held at the Loft on Lake, located at 1366 West Lake, Chicago, IL.  Tickets are less than $25 and can be bought in advance here: athasharodbridal.eventbrite.com  You can RSVP for the event on Facebook too… but be sure to buy your tickets in advance!

Check out this list of incredible preferred vendors for the event!

  • Wedding Planner: Charity & Gabriela with A La Moda Events
  • Photographer: Tuan H Bui
  • Videographer: Al with Elite Video Productions
  • Fashion Illustrator: Rosemary Fanti
  • Bouquet Preservationist: Loreen Hospodar
  • Make Up Artist: Tracy Ballog
  • Bridal Stylist: Susan from the Left Bank
  • Menu Tastings: Norman’s Bistro & Cedar’s Mediterranean
  • Wedding Cake & Bakery: Richard with Rueter’s Bakery
  • Dessert Tray Stylist: Lizabeth with Fancy Candies & Sweet Buffets
  • Vocalist: Karen Dade
  • Live Trio: The Bons Vivants

Brides, if you’re looking to make your wedding a classy, beautiful event, the Atha & Friends Present A Sneak Preview of “The White Collection – LUXE” event is THE place to go to find everything you’ll need to make your special day memorable.

Check out Atha Sharod online:
The official Atha Sharod website: www.athasharodbridal.com
Become a fan on Facebook: www.facebook.com/pages/Atha-Sharod-Bridal/166098103434102
Be friends on Facebook: www.facebook.com/athasharodbridal
Follow Atha Sharod on Twitter: www.twitter.com/AthaBridal
Robert’s Blog: athasharodbridal1.blogspot.com

June 30, 2011

How Many Edits & Who Picks?

It’s often asked, and often debated: how many edits should a model get from each shoot, and who picks what gets edited?  Here’s my take on how many photos a model needs per shoot, as well as who should choose the pics… and some other stuff.

I’ll start out by saying that, largely, every photographer is different, and how they choose to do things is different.  For this very reason, it’s important to discuss image receipt expectations (and realities) with every photographer you’re thinking of working with before you schedule a shoot.  This way, there’s no surprises, and no reason to back out of a shoot if you find out that the photographer works in a way you don’t agree with, and there’s less likely to be issues with someone being unhappy with what they got (or didn’t get) after the shoot.

What does a model need for her book?
Generally, a model only needs 1 great shot per look for her book.  However, in some cases, it might be best to receive 3-5 images per look so that she can choose which she wants to upload, so she can have the option to upload different shots to various sites, or create a diptych or triptych (with permission, of course) to tell a story.  Uploading more than, say, 10 shots from a single look can lessen the effect of the look, and can weaken the set overall (after all, you’re only as good as your worst shot).

This actually applies to photographers as well.  Too many images from one look with a model can weaken your book instead of strengthen it.

Who chooses what gets edited?
When I was a newer model, I liked to go through and choose photos.  It gave me an opportunity to see everything we had done and study how I moved and emoted.  But eventually, I realized that I was working TF* with photographers based on the work that was in their portfolio, which, presumably, was work they had chosen to edit.  So I stopped spending time choosing photos, and often let photographers know that I am fine with their choices.  I have found that this has helped me get edits faster too, which is nice–there’s no lag time where the photographer’s waiting for me to choose edits.

Formats, sizes, and prints… what?!
Generally I make sure that I receive one unwatermarked image that is high quality enough (and properly sized) so that if I choose to, I can make a 9×12″ print from it.  Sometimes, I request a specific image from the set of edits, to receive in this format, because I know it’s something I definitely want in my book.  In some cases, I’ve been provided with a print release from photographers, but not always.  It is something I’ve had to ask for before, and rarely is a problem if I explain I’m getting prints made for my portfolio.  Past that, as long as I get the one shot in an unwatermarked

Shout out to Blue Cube Imaging, who I use for printing.  Brent and his team always do top-notch work, and come highly recommended by myself and many others.

I recommend that photographers deliver photos in JPG format.  JPGs are generally the best format for uploading to the web, and if they’re high enough resolution, are fine for printing as well (though the TIFF file format prints well too if it’s high enough resolution).  Most models don’t have the proper software to view anything other than JPGs, GIFs and BMPs, and most portfolio websites only accept GIF and JPG files for upload.  So JPG is generally the way to go.  Some sites may mess up your image’s colors if you don’t properly embed the color profile.  Pat Yuen wrote a blog that kinda might help explaining that, so if you’re curious, go here.

Requesting all unedited photos from a shoot.
It’s not necessary that a model get all of the unedited photos, and it’s certainly not the norm.  After all, what in the world is she going to do with hundreds of unedited, full-size images?  Likely nothing.  However, I remember a time where seeing virtually every frame from a shoot was helpful.  It showed me what worked, what didn’t, and what I needed to work on.  It was a very effective learning tool for me.  But I have hundreds of CDs laying around with unedited images on them, and nothing to do with those images (and no desire to look at them, at this point).

Models, you should never expect to get unedited images at all, let alone a CD of every shot from the shoot, full size and unedited.  Photographers that provide this are not the norm, and certainly not the majority in most places.  Largely, there’s no need for you to have hundreds of images from one shoot.  

If a model asks to see unedited (or sometimes worded “raw”) images, I recommend going thru them (after copying them all to a new folder so as not to overwrite or delete anything) and removing everything you absolutely do not want published–things like blurry images, blinks or weird faces that don’t look good, light misfires, wardrobe malfunctions, whatever.  Why remove those shots?  Because, again, you’re only as good as your worst shot, and if a model really likes how she looks in a picture, she might put it up even if it’s not in focus, because, well, the photographer did give it to her.  Then watermark all of the images, across the middle with “proof” or “sample”.  Make it transparent, so that the model can still see her whole pose and expression, but make it obvious.  And finally, make the images web-size only, but too small to upload anywhere and look decent.  Perhaps something like 400 pixels on the longest side.  Then, you’ve got a thumbnail gallery in which the model can see her poses and expressions, more or less, but she’ll be deterred from uploading the unedited images.

Photographers, it’s worth noting that if you’re going to provide all of the unedited images, even watermarked, there’s some risk that a model might upload some or all of them somewhere.  Sure, she’ll look like an idiot for uploading an image marked “proof” (provided you do that), but if you provide everything, that’s your problem to deal with.  In some cases, a model might upload an unedited image if you’re lagging on providing edits, because she needs to update her book or is excited about the shoot.  So think long and hard about whether you wish to provide unedited images at all.

If I hire a model, do I still need to give them photos from the session?
Generally, if you’re hiring a model, you don’t need to provide images from the session.  It’s always nice to get one or two edited images as a “hey, thanks again, check out the stuff we got” kinda thing, but it’s not necessary or expected (generally).  If you make it clear that your transaction will be simple (model poses, photographer pays), then you can edit on your own time and not have to worry about busting your hump to provide images in a reasonable amount of time.  But, as in the case with sending images, discuss this in advance to help eliminate unpleasant surprises.

Most important point?
Discuss it all before a shoot.  Models, if you have certain things you wish to get from a shoot, be up front about it.  Photographers, if you only deliver images a certain way, let the models know.  In the end, it’s less frustration for everyone.

June 28, 2011

Rates, Travel Fees & Discounts

Lately, I’ve been hearing a lot of photographers are getting slammed with ridiculous travel fees.  Add that into the constant complaints about how models often say “my rates are reasonable” and the rates turn out to be just the opposite, as well as the complaints about models who say they’re negotiable and aren’t, and… yea  :/  Anyway, I figured I’d blog some thoughts on rates and explain how I do things.  I feel like my system is pretty professional and easy to work with.

When do you discuss rates?
I like to discuss rates and negotiate before even scheduling a shoot.  I work with the people interested in working with me to come up with a rate that suits their project and budget before we start figuring out the rest.  That way, there are no surprises for those folks I’m working with, and they don’t have to worry about suddenly not being able to afford me, or having a last-minute travel cost added on.

What are your modeling rates and what do they include?
My hourly rate is currently $50 per hour for modeling.  There’s no minimum to the amount of time I’m booked, but I do ask that folks interested in booking me take travel time into consideration.  I’m not likely going to like driving 2 hours each way for a 1-hour shoot.  My rate is flat for everything from commercial-lifestyle to fashion, and includes swimwear, lingerie, and limited implied nudity.  I do not shoot sheer lingerie or any nudes, so that’s a non-issue.  And don’t forget, the clock starts when I arrive on set, so I ask that photographers be conscious of that when planning.

How do you factor in travel costs?
My base rate includes up to 25 miles of travel, and past that I charge 51 cents per additional mile (which is the IRS mileage rate for 2011).  I work all this out on an individual basis before booking, so that the number quoted is as accurate as possible.  Quite often, I ask photographers for addresses or nearest intersections to their studios, so I can map things out in advance, and make sure that I’m not going to slap them in the face with a “oh, by the way, it’s an extra $60 for travel” the night before a shoot.  That’s just not cool, and I certainly wouldn’t appreciate it being done to me.

How did you set your modeling rates?
I initially set rates a couple years ago, when a combination of two things happened.  One, I started being asked for rates fairly regularly, and two, I was being offered more trade work than my schedule would allow.  I asked a few models in my area what their rates were, in an effort to be competitive.  I also started lower than my current rate, and built up based on both my experience level and how valuable my time is.  I do periodically review my rates and the marketplace, and look at what I’m offering compared to other models of my caliber, and adjust if necessary.

You offer discounts?  Do tell!
I offer discounts to students, because I remember what it was like to be eating Ramen for weeks to get a pair of shoes something I really wanted.  The student discount varies based on numerous things, so I can’t give an exact number.  But if you’re a student and are interested in hiring me, drop me a line and we’ll talk 😉

I also offer discounts when I’m booked by a single photographer in 4-hour blocks (half day) and 8-hour blocks (full day).  Typically, instead of charging $200 for a 4-hour shoot, I charge just $150, which is, essentially, like getting a free hour.  For 8-hour shoots, instead of charging $400, I charge $325, which is a $75 discount (it’s like a free hour and a half).

I have also offered discounts to photographers who are located less than 5 miles from me, or who hire me and then shoot at a location that’s that close.  I offer a 25% discount off my hourly rate for nearby shoots, which means it’s just $37.50 an hour if we’re shooting just 5 miles from my location.

Can multiple photographers split your rates?
I allow up to 4 photographers to book me as the sole model for a shoot for either a half day or full day.  I do not, however, offer the same discount for multiple-photographer bookings that I offer for single photographers.  Why no discount?  Because you’re splitting the $200 or $400 between up to 4 people, which makes it cheaper per person all around.

I ask that no more than 4 photographers book me at once because more than 4 photographers proves to be too many photographers, and means I can’t spend much time posing for each one.  I like to make sure that, when I’m hired, photographers are getting their money’s worth.

How willing to negotiate are you?
I’m pretty open to negotiating, or at the very least, discussing options.  I know things are tough and that many photographers are hobbyists.  The most common negotiation I do is working in exchange for wardrobe or wardrobe plus heavily discounted rates.  Sometimes, this is wardrobe purchased by the photographer and worn at the shoot, then given to me.  Other times, it’s wardrobe in the form of a giftcard, so that I can purchase stuff later on (not necessarily for use on that particular shoot or with that specific photographer).  I always tell photographers not to be afraid to ask models (or me in particular) about negotiating, because chances are, we’re open to it.  If you have something to offer, I won’t know unless you put it on the table!

Do you require deposits to book?
Typically, I don’t.  Though if I were traveling to your area specific to shoot, I would require a retainer, which would be applied to the final total.  I might also require a deposit or retainer to secure a date if a photographer had cancelled on me before.  This is, of course, something I look at on a case-by-case basis.

June 15, 2011

Paying a Model: When Does the Clock Start?

Quite often newer photographers and models ask when the clock starts when it comes to paying a model.  Some seem to think it starts once the model is out of hair and makeup, the lights are set up and tested, and the photographer is ready to start shoot.  However, that is not the case.

The clock starts the moment the model arrives at the shoot location.  Not when the hair and makeup is done.  Not when the photographer is finished setting up and testing his lights.  Not when the model finally gets in wardrobe and starts posing.  A model’s time starts the second she arrives at the location to start hair and makeup.

Why?  Because while the model is in hair and makeup, she’s technically working.  She certainly can’t be shooting with someone else, or working an event, or looking for gigs during that time.  She’s on the clock with that specific photographer and team, the moment she sets foot in the door.

Save some time.  While the model is in hair and makeup, the photographer should be setting up his backdrop or designing his set, getting his lights up, and making sure everything works.  Then, when the model is made up and in wardrobe, he can snap off a few tests, adjust if necessary, and then start shooting.  If, that is, he hasn’t done it before she arrived (though this can mean sitting and waiting on the photographer’s end… so maybe have a compy nearby you can edit on).  Having a model wait around while the photographer sets up a backdrop and lights is just a waste of time and money.

Save some money.  If you’re not working with a MUA and hair stylist, then ask that the model comes with basic makeup done (concealer, foundation, contouring) and that she bring the rest of her makeup kit with her so that she can adjust her look as necessary prior to shooting.  Have her come with her hair done too, and bring a few extra things so she can change it up if necessary.  This will save some significant time and means you can start shooting sooner instead of waiting for the model to do her whole face, style her hair entirely, etc.

Not sure how long to book a model for?  Many models will be willing to discuss hourly rates with you if you’re not sure how long your shoot will be.  Sometimes, it may be easier to book a set block of time and discuss an hourly rate for after that block, in case the shoot runs long.  Other times, it’s easier just to book a model on an hourly basis, and plan to not exceed X hours.  It all depends on the shoot, the prep time needed on set, and how many looks you’ll be doing.  So have that stuff worked out as best you can before discussing rates, if at all possible.

Hey, apparently, this was my 290th post! Neat!

June 6, 2011

Beating the Blues

Modeling can lead to emotional burnout pretty quick.  There’s only so much someone can take before they want to just hang it up and move on.  I imagine this comes from the rejection a model faces regularly, as well as the fact that modeling is very much about one’s looks (including their skin, face, hair, and body), and that models are often criticized.  So sometimes, models get emotionally burned out, and need a little encouragement, even if it comes from within.  Here are some ways I’ve found work for me when it comes to beating the modeling blues.  Feel free to add your own in the comments!

  • Review your photos, especially the ones you feel are your best, look at tear sheets (if you have any) and other successes you’ve had as a model, and otherwise remind yourself that, hey, you’re good at what you do.  If you weren’t, you wouldn’t have all that stuff!
  • Sometimes, stepping away for a bit can be the best cure.  It might just mean a night or a weekend away from the forums, Facebook, and other modeling-related stuff, or it might mean a break from modeling entirely for a little.  That’s up to you.  But a break from things might be what you need.
  • Other times, pushing yourself to create something new and different can also help get you back on top of your game.  Try a new concept, or push yourself into a really complicated pose.  Try out new hair, makeup and wardrobe, or shoot a style you’ve never done before.  Work with someone you know can deliver great shots, and work to create something new and better for yourself.  The results might be just the boost you need!
  • Writing helps me.  Often I just start a new blog draft and get my thoughts out.  Sometimes, I end up deleting it, but other times it turns into something worth publishing.
  • A glass of wine, a hot bath, and getting lost in a good book always cheers me up.  Sometimes, I even grab an old favorite off the shelf and read it cover to cover.
  • Going for a drive can help clear my mind.  As can taking the dog for a walk, or even sitting in front of the TV and doing something crafty.  Concentrating my energy on something that’s not modeling related can be a big help.
  • Retail therapy.  Even if I don’t buy anything, I find it comforting to go to the mall and browse, or grab a coffee and people-watch.  I often prefer to do this alone.
  • Along those lines, Ugly Dress Game with a friend or two can be hella fun!
  • If something’s really bothering me, I’ll often use my husband as a sounding board.  He’s got a level head on his shoulders and will tell me if I’m being a tard about something, if I’m over-reacting, or if my feelings are just.  And sometimes, talking things out helps them make sense too.
May 18, 2011

Missing Model: Irma Sabonovic/Ira Blackbird

Please help find Irma Sabonovic (a.k.a. Ira Blackbird)!

Police are looking for Irma Sabanovic, a 25-year-old Rogers Park woman who modeled under the name Ira Blackbird.  She was last heard from after getting lost May 12 while heading to Exit, a Near West Side nightclub.

Irma Sabanovic left her home in the 1900 block of West Hood Avenue on May 12, with the intention of going to the Exit nightclub near Elston and North, according to a missing persons alert from Belmont Area Special Victims Unit.

At 2:00AM, she texted a friend that she was lost near Milwaukee and Erie. That was the last communication from Sabanovic.

She was driving a blue four-door Ford Focus with Illinois plate A465569.

Sabanovic is 5-foot-10 and 120 pounds with brown eyes and brown hair. She is white with a medium complexion, and has a tattoo that says “Minge” on her right forearm and a tattoo of a star on her back.

Anyone with any information about Irma or her blue Ford Focus should call detectives at (312) 744-8266.

A search party is gathering to look for Irma on Saturday, May 21 at 12 Noon.  They are meeting at Warren Park, located at 6601 N. Western Ave, Chicago, IL 60645.

If you are interested in helping with the search party, please RSVP to this Facebook event to stay in the loop.

More information and photos of Irma:

It is doubtful that Irma’s disappearance has to do with the fact that she is a model, and I have never met her.  I am simply helping spread the word.  I will update this post as more information (if any) becomes available.

May 3, 2011

Getting out of a Creative Block

A photographer on one of the modeling sites, HT Portraits, shared a blog post of his, which discusses some ideas on overcoming a learning plateau in terms of photography.  Given my last entry, and how the team I worked with stepped outside our comfort zone, I thought it would be appropriate to share his blog with you.

Before I do that though, I would like to address it from a modeling standpoint, as quite often a model reaches a creative plateau that can put her in a funk (of sorts) and result in all kinds of issues.  Boring, still poses, the same facial expression over and over, doing the same kind of shoots over and over… you get the idea.  I have definitely been stuck on that plateau before… and it sucks.  So, I’m going to take this blogger’s suggestions for photographers, and write some tips for models.  Here they are… 10 tips for moving past a learning plateau, for models.

  1. Ask questions.  And ask again.  Ask the photographers you work with to explain something about their lighting.  Ask models you know how they practice their poses, or acheive certain expressions.  Ask models and photographers about styling (or drop by your favorite retail store and ask an employee to help style you).  Ask an MUA you’re working with for a quick tip on makeup application.  Ask, ask, ask!  You can’t learn more if you don’t.
  2. Take a risk and try something new.  Step out of your comfort zone and try something you’ve never done before.  This doesn’t necessarily mean you have to try something you’re totally uncomfortable with (like nudes, or fetish), but try out a genre you’ve never done (pinup or horror, perhaps?) .  Maybe try out a new pose or a new expression (don’t be afraid to be vocal while shooting).  Go through  your closet and find 3 articles of clothing you’ve shot in before, and figure out a way to style each one dramatically different.  You won’t know it won’t work until you try it, and you might find yourself pleasantly surprised.
  3. Read through forums for an uninterrupted amount of time.  The forums on many modeling sites can be a wealth of information.  And a great source of entertainment.  Spend some time browsing through them and reading posts, looking at the profiles of people who post often, and just absorbing the knowledge that’s there.  If that’s not enough, you can use a site like www.tfp.me to search for posts on a specific subject, and learn more.
  4. Start an inspiration collection.  I’m a huge advocate of this, and have mentioned it before, numerous times.  See an image that inspires you? Save it to a folder on your desktop.  See an ad in a magazine you like?  Tear it out and put it in a binder.  Store window catch your eye?  Snap a pic on your cell phone and email it to yourself to save.  Carry a small notebook with you to write down ideas as they come to you, or even sketch things out.  Inspiration is everywhere, and when you open your mind to it, you’ll be surprised how fast it can come to you.  Especially when in conjunction with #2.
  5. Aim high.  Don’t just look for inspiration in average places.  Look at the best of the best, and see what they’ve done.  Be inspired to be the best, by the best.  Sometimes, though, inspiration can be found in a poorly done image, and there’s nothing wrong with that.  Just strive to not only be inspired by what you find, but to do it better.
  6. Find mentors.  Everyone can use a mentor, no matter how experienced you may be.  Look for someone to offer you tips and advice in an area you want to excel in, and then ask questions.  Perhaps see if you can shadow them for a day.  Maybe find a mentor in a different area–a photographer for example, instead of another model–to help teach you about other aspects of your craft.
  7. Take a break.  I’m also an advocate of this, having done it numerous times myself.  The length of the break doesn’t matter–take however much time you need, and don’t let anyone pressure into coming back until you feel you’re ready.  Sometimes, it’s as simple as turning off the computer and putting down the smartphone for a night, or a weekend.  Other times, you have to step away for a few weeks, or even months.  Stepping away from something, no matter how much you enjoy it, can give you a fresh look at things when you come back to it.
  8. Teach others.  Sharing your knowledge can be very rewarding, and you can also learn things from those with whom you’re sharing.  Offer to mentor a new model, or host a workshop for new photographers.  See a question being asked in the forums that you know an answer to?  Answer it!
  9. Get paid.  When you are getting paid, often, more is expected of you.  And quite often, that alone makes you step up your game and work harder.  When you work harder, you learn more, not just about what you’re doing, but about yourself.
  10. Enjoy the journey.  That’s right, enjoy what it is you’re doing along the way to wherever it is you want to be.  Take some time to make art, to shoot what you want to shoot.  Immerse yourself in a concept you’ve been dying to do, or something you’ve never done (see #’s 2 and 4), and while you’re doing it, have fun.  Never, ever forget to have fun.  If you do, once you reach your goal, you’ll look back and find yourself wondering if it was worth it.  You can still work hard, but take some time to enjoy both your work, and the results from your work.
So those are my thoughts on breaking out of a creative funk, or learning plateau, as HT Portraits calls it.  A model’s POV.

Now, take some time to read a photographer’s take on it, for other photographers.  

Though models can learn from HT as well 😉

Beating a Learning Plateau in Photography

May 2, 2011

I love pie. And this team.

Every once in awhile a team gets together and consistently creates great images.  Which is awesome, but sometimes, you all need to step outside your comfort zones and try something new.  That’s what Christian Carlson, Christin C and I did on Saturday.

We started out with a set I’m calling Eyes, Lips.  Christin used her skills as an artist to not only flawlessly do my makeup (and hair), but place an eye on one hand, and a lip on the other.  Christian busted out his gels and we shot a beauty set that was way different for all 3 of us.  Here are my 3 favorite shots from the set.

  

But then things got crazy.

This concept started out in my head just as a wardrobe idea, and was inspired by various people and things (songs, actually).  I made the “Diva” shirt, the earrings, and gathered a bunch of accessories together after getting inspiration from music artists Ke$ha, Dev, and P!nk.  When I sent Christin my wardrobe ideas, she came back with this mask idea, and I managed to find a material that worked for it.  She also had this great shot that involved Silly String, which we decided we wanted to include.  I also found large sequins at Hobby Lobby, and snagged those (glitter would have been way too hard to clean up, and may have just looked like dirt in the shots, which wasn’t what we wanted).  I brought a few empty cans of AMP as well.  The set evolved from just a musically-inspired set to one that evoked thoughts of having been out all night partying.  Which, thinking about who I drew inspiration from when it came to wardrobe, works well too 😉 LOL

Anyway, after the first set, Christin and drew on the mask I’d cut earlier in the week while Christian broke down his backdrop and re-set his lights.  And then we drew on me.  And then we piled on the accessories, tied on the mask, and started shooting.  I’ll just let the resulting shots speak for themselves…

 

  

 

Somehow, we managed to get them to be a little editorial, as well as a little crazy.  I feel like we were channeling a lot of different people here, and it kinda just… came together wonderfully.

This was, quite possibly, one of the most fun shoots I’ve ever done.  I have laughed on shoots before, but never this hard.

I think this conversation we had while reviewing pics sums it all up perfectly:

Christian: Wow… this looks like the set of a porn or something…
Christin: Yea, but it’s so awesome it makes me want to shit rainbows!!
Rachel: Christian, did you ever think you’d hear that about your work?

Check out the team’s Facebook Fan Pages, and LIKE THEM!

Christian G. Photography
Christin C Makeup

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