interactions with models

[blinkerz]

Not sure where this belongs, I find theres alot of guides to lighting, but cant find any guides about interacting with the subject.

Can someone give me a good guide or explain how to interact with models to get emotion through on images, i have this trouble even if the subject is relaxed . I can easy say about directions to look etc.., but how do you try get different emotions to be conveyed across.. its not something you can easily put into words either...

 

[dseered]

Not sure where this belongs, I find theres alot of guides to lighting, but cant find any guides about interacting with the subject.

Can someone give me a good guide or explain how to interact with models to get emotion through on images, i have this trouble even if the subject is relaxed . I can easy say about directions to look etc.., but how do you try get different emotions to be conveyed across.. its not something you can easily put into words either...

I guess its all down to your personality and theirs, if you are uncomfortable they most probably will be, if you are happy it will ease them if they are uncomfortable - you know I don't think its something that can be learnt, interested to read the replies though !

 

[Bronikon]

:Hi Blinkerz if you are using a pro model they normaly are very good at giving you what you ask for in poses expressions etc, if you are using ametuers friends family etc keep it light hearted not to serious and give plenty of praise and be very clear about what you are trying to create ,and a little mood music helps a great deal.

Guid healthbeer:

 

[Alison]

Thread and pic here relating to the following quote.

The reason for his barely suppressed grin in this shot is that I'd told him I'd take my knickers off and touch my toes if he smiled nicely for me

I suppose it comes down to the effect you're after. I wanted to portray wry humour in the shot described above so the ploy worked well.

In the following one I told the chief bridesmaid that she'd got horse poo on her shoe. She was horrified, looked down, discovered that I was fibbing and was momentarily mad with me hence the haughty expression (which was replaced by one of unbridled laughter a second later when she realised I was fooling). It'd have been better if I'd caught this that bit sooner as she'd already started to smile here. I was after an ethereal feel and snooty expression which I knew my remark would produce and this obviously just missed the mark because I was too slow with the camera.

Pick your chosen ruse according to the expression that you want to capture - and be quick! "The moment" is so fleeting.

 

[purpleclouds]

I think it is purely down to how you interact with them!! Whenever I'm in the studio, I always start with a quick chat before hand to build up a relationship...if they have changes of clothes then I ask to see them...talk to them about what backgrounds I will do with each change etc....and try and get in a joke or 2 so they relax a bit more!!

That way, I sound like I know what I'm doing p) and they (particularly women) think I'm interested in their darned clothes

 

[AliB]

The first time I did a studio shoot with my fave model I booked it for three hours. The first hour was spent getting her to chill out! I knew that would happen though and now we can go more or less for the effect I want. The long and the short of it is that she trusts me.

We do see each other even when not shooting, just planning what else we both want. I'll happily shoot what she likes and she reciprocates when I have ideas I'd like to explore. We have to get together to do some shots in a wedding dress and she's contributing to the shoots herself now which is great!

I think the answer is to work with a model over more than one shoot, you soon get to know what works.

 

[trucker]

The first time I did a studio shoot with my fave model I booked it for three hours. The first hour was spent getting her to chill out! I knew that would happen though and now we can go more or less for the effect I want. The long and the short of it is that she trusts me.

We do see each other even when not shooting, just planning what else we both want. I'll happily shoot what she likes and she reciprocates when I have ideas I'd like to explore. We have to get together to do some shots in a wedding dress and she's contributing to the shoots herself now which is great!

I think the answer is to work with a model over more than one shoot, you soon get to know what works.

Definitely works for me. You need to have an understanding and trust.
You'll also find that problems like these are exaggerated if you ask the models to start moving away from their comfort zone. Sometimes showing them a set that didn't work can help..........they will possibly understand better if they can see what you are getting at.
I work with one young lady who likes pink...............lots of it! Last weekend we did a little shoot on an industrial site and I said to her to bring plenty of bright colours as I wanted the contrast between the run down grime and my attractive young lady. She brought plenty of colour..............all pink!!

Sometimes its down to horses for courses............certain models will work better on certain shoots no matter how much planning and preparation goes into it!

 

[hyakuhei]

I do a lot of studio work for clients that have rarely had any modeling experience.

My top tips are:
1) Smile - Lots. Be happy and open
2) Lots of eye contact, bring the camera away from your face when giving instructions
3) Take control of the situation and don't let them flounder.
4) Don't be afraid to touch*
5) Smile more! Nothing puts people more at ease or makes them more likely to smile.

*Some togs never make contact but sometimes you need to pose people manually, trying to explain over and over again verbally can frustrate both of you and throw away any chances of a relaxed shoot. - I tend to only touch the shoulders and the chin though, generally I find thats all you need. For moving the head by the chin I tend to use the side of a crooked finger, Its less personal than touching by finger tip..

 

[wingnut]

I think a lot of it is down to your perception of the shoot, make it clear in your mind what you want from the images and it will convey better. Um'ing and ah'ing will get you nowhere.

Make plans before the shoot, mental ones and physical ones too, draw diagrams, cut out images from mag's whatever, just be armed with all the info to make the shoot go smoothly.

If they can't pose properly never touch them, pull the pose yourself so they can mirror it, use the camera on a tripod and a remote shutter, that way you can step away from the camera, pull the pose you want and keep eye contact, when they get the hang take the camera off tripod so you get different angles.

Also kids love jaffa cakes and adults love wine. Those are two golden rules I have learnt this year when doing family portrait shoots. Two in expensive props go a long way to making relaxed clients.

 

[hyakuhei]

I think its down to the photographer to decide, using experience and commons sense and decent pre-shoot briefing wether or not to touch a model - obviously if care is not taken there are all sorts of dangers involved.

[Edit] Forgot to mention that I would (almost) never manually position a model without someone else in the room[/Edit]

To me, positioning a model in the fashion I described above is often very useful, I find the mirror method fairly useless as if a model doesn't understand what you are asking them to pose, they are unlikely to understand better with a mirror and if they are posing badly at the time, showing this with a mirror can make the situation worse - damaging their confidence and possibly making them uncomfortable.

As with all things in life using good judgment* is key, weather that be manually positioning a model, introducing a mirror or plying them with alcohol.

*As with most judgment calls, it is always worth airing on the side of caution