NZPhotographer Issue 59, September 2022

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.
NZPhotographer
September 2022
47