Millie Nikon D810 @ F2.8, 1/200s, ISO800, 58mm
candidate for a model and you can approach them professionally. This is always hard and puts us out of our comfort zone. Handle the situation with tactfulness and diplomacy. Most people will be honoured you have asked them. When working with models, it is imperative to get them to sign a model release form. You can attain a basic one of these from the NZIPP website. This protects the model from having their image sold to other parties and used without consent. Essentially this form gives you, the photographer, the right to use the images for competitions and your own promotional use. Keep these forms on file as you may be asked to provide proof of them in some competitions. Tools of the Trade Face chart and make up used to create the photo ‘Millie’. If I need to source items for the session, I will start gathering and preparing in the weeks before. If I have an elaborate makeup style in mind, I will spend time creating a makeup face chart that I can refer to on the day while prepping my model. This saves a lot of time later, especially if you are under pressure as it is easy to get sidetracked and off-topic while on set. By using this type of planning and preparation, I can discuss with and show my model my ideas before starting. Explaining in detail the concept, emotion, poses and looks I expect from my model, also gives them the chance to bring their interpretation to the table, thus resulting in pure collaborative, emotive imagery. SELECTING A MODEL Your choice of model and the connection you have with them will influence the emotion in your final image. If you have never worked with the model before, take the time to meet up with them and have a coffee, discuss and agree on a fair fee to pay them, chat about their life and your own, and become their friend. Even if you’ve worked with your model numerous times before, communication in relation to the image concept before the day of the shoot is highly recommended so you can be assured that you are both on the same page. When looking for a model, there are a few platforms that you can use to source one. The following link is to a Facebook page: Models, Photographers, MakeUp Artists and Designers New Zealand www.facebook. com/groups/450284940227/ This is a great location to advertise for, or check for models in your location. Also great if you are looking for a stylist or makeup artist for the day of the shoot - view their portfolio or Instagram to see if they will be suitable for your style. Another tip is to always have your business cards on you because you never know when you’re out and about, you may see a great NATURAL LIGHT VERSUS ARTIFICIAL LIGHT I once read somewhere that when using studio lighting, we are trying our best to emulate natural light. You don’t need to have an elaborate studio to capture a beautiful portrait or a conceptual masterpiece. Where possible I will choose to use natural light and am not embarrassed to admit that I am still somewhat fearful of using studio lights, even though I do covet them all! In the planning stage of a session, I decide on the location I want to use – do I want to be inside or out? What light is available to me? If I am shooting outdoors, I always hope for a lovely overcast day to provide diffused light, but we all know we cannot predict the weather conditions. With that in mind, if I am looking for an environmental portrait, I will take portable diffusers with me and an extra pair of hands, just so I can shade and eliminate any hot spots of light on my model. I will also assess the location and if I can keep my model out of the direct sunlight and in the shade I will. If I am setting up for a workshop, I use a three-sided white gazebo as a portable studio. The light is soft and beautifully diffused within the gazebo and gives incredible catch lights in the model’s eyes. By having the gazebo set up beside our accommodation, I can power through a multitude of different scenarios and looks without having to travel around to different locations. This works really well when I am changing the model’s costume, props, hair and makeup a lot over the course of the day. I keep the plethora of costumes close by that I have accumulated over the years so that if an idea pops into my head I can quickly access items to fulfil my vision. I predominantly shoot against a dark backdrop, as this gives me the option to change out the background in post-processing or cut my model out and use them in a composite image. It also suits my darker style of photography. Another benefit of the outdoor pop-up studio is that it keeps the model out of whatever the weather gods decide to throw at me on the day. Great for keeping cameras and photographers dry too, should it decide to rain. <strong>NZPhotographer</strong> <strong>September</strong> <strong>2022</strong> 47