Having A Team & Going Solo

Having a consistent team will most likely garner more test shoots; some of which may even be paid in the future. In the beginning, however, a team may prove difficult to come by. If you do not have a team, do not fret. An essential lesson to take away from testing is learning to maximize production value with as few resources as possible.

This is not ideal, but it does teach the bare essentials. Rest assured that once you learn to master this by yourself your work only improves. I was a one-person show when I first began and it allows me to jump in wherever needed if someone on my team isn’t available due to a last minute booking. It has also helped me be a better director.

Being able to deliver and elevate a quality basic test shoot is priceless.

Gear: Canon 5D Mark III, Canon 85mm 1.2L II, Broncolor Siros L 800Ws, Broncolor Beautybox 65 Softbox

Tech Specs: ISO 200, f/10, 1/160th of a second.

Mood Boards & Styling

Mood boards are a key component to model test shoots as they set the mood and expectation. Most agencies will request to see a mood board in the beginning to make sure your vision is in alignment with theirs. It also helps keep everyone on track for the duration of the shoot.

When it comes to styling, the days of having the model scantily clad in a pair of jeans and nothing else are gone. Unless the test is specifically geared toward body images, the more clothing the better. Choose simple and classic items that pervade a tone of timelessness. Inquire if the model has any pieces that will fit this vision.

Black, white and other neutral colors are perfect. For everything else that is still needed, check out vintage stores and other major retailers such as H&M. These are great choices that are easy on the bank account. You may even be able to rent pieces online or borrow from a friend. Make sure to ask the model to bring a pair of nude and/or black heels as well as nude undergarments. Two to three looks are more than sufficient.

Gear: Canon 5D Mark III, Canon 85mm 1.2L II

Tech Specs: ISO 100, f/2.8, 1/320th of a second.

Hair & Make-Up

As far as hair and makeup are concerned, less is more. Have the model come prepared to wear their hair down as well as up in a loose bun or high ponytail.

Makeup looks great when it appears fresh and natural, so dewy skin paired with a little bit of lipgloss and mascara always works, and the minimal approach provides a youthful vibe which is always a plus for the model. In addition, the clean slate approach will give potential clients a blank canvas to envision several different looks. Keep in mind, you can always add more makeup as the photoshoot progresses if you feel so inclined.

Courtesy

As a common courtesy, ask the booker if they have any specific images that they need and make sure to deliver those requests. Whether the location be a studio on a white or grey seamless, or outdoors, there are three frames that you can’t go wrong with. Always make sure to capture:

• full length
• 3/4
• portrait

Some models have a look that begs to have a beauty image taken while others do not. The other angle that I will always deliver is a straight on horizontal image of shoulders up. The booker always loves this angle and often doesn’t know this until they see it.

Gear: Canon 5D Mark III, Canon 85mm 1.2L II

Tech Specs: ISO 200, f/4, 1/400th of a second.

Remember Who It’s About

Test shoots are typically about the model, so remember to direct them in a way that captures their whimsical and mischievous moues. Subtle movements seem to prevail over the hard hitting poses, and that is because there is often a disconnect at the beginning until the intimacy sets in and you feed off of each other’s timing. The best images are captured when you are communicating without speaking at all, transfixed in the moment with each other.

Gear

You can get away with photographing an entire test shoot with minimal gear. I photograph the majority of my tests with an 85mm, switching to a 50mm when the situation calls for it. Some tests can be captured using only natural light and a reflector. In the studio, a single light will always do the trick. My lighting consists of a single Broncolor Siros L 800ws with a shoot-through white umbrella and the collapsible beauty box.

• Canon 5D Mark III
• Canon 85mm 1.2L II 
• Broncolor Siros L 800Ws
• Broncolor Beautybox 65 Softbox
• Savage 36″ Shoot Through Umbrella 

What Files Agencies Request

In the beginning it is very normal for a model booker to request all unedited images from the shoot. Until that rapport is built, they want to cull and choose the final selects to be edited. This often comes hand in hand with a critique that is brutally honest. Listen to all of it, the good and the bad, and apply it to the next few tests. Once that trust is established, you will only send them final edits of your choosing.

Test shoots are the perfect time to test out new gear, lighting setups and themes. Ensure that you first capture what the agency has requested of you and then have fun. Learn to master the basics and the rest will come. The more tests you crank out, the more people tend to want to collaborate with you. This is when the best relationships are developed and quality teams are built. This is also when some of the best work is created. 

Street photography is essentially stealing a moment in time and requires one to act fast in order to document their observations. In the beginning it can be nerve racking even for the most seasoned pros to step outside of their comfort zone and do whatever is necessary to catch those fleeting moments on camera.  In this article, we’ll teach you how to take pictures of strangers in your street photography.

Tips for Taking Pictures of Strangers in Street Photography

Bring the Right Gear

Any camera will work, including your smartphone. What’s more important, however, is your lens choice. A smaller lens and body combo will not intimidate strangers (as much), so I often take out a 35mm or 50mm lens on a Canon EOS R or EOS R6 body. My favorite focal length for street photography is actually 35mm because I can get a little bit more background, and I can intentionally use the added lens distortion for dramatic effect, such as for low-angle, bottom-up shots, etc.

Find an Ideal Location

Find a spot with plenty of options, and before you approach someone, scan your scene for a potential backdrop. In other words, scout your location so that you can get a good idea of what’s around you, where the light’s coming from, and so on. It’s smart to pre-visualize your composition before asking to take someone’s portrait. This will help keep you from getting stuck when you’re in the moment.

When David and I were out in Pasadena, for example, we approached Erica, who was there taking pictures with her friend for her fashion boutique (you can find more info here: @casualallure). While David and Erica talked, I looked at the scene and noticed a staircase. I liked the staircase because I could place Erica on the stairs and use the railing for leading lines. I could also use the light falling between the buildings to light Erica’s face. I already had these shots in mind before it was my turn to shoot.

Establishing Credibility From the Start

Be sure to perfect your approach and establish credibility quickly. You might consider handing out business cards or something similar, and that is fine. Remember that your wardrobe and attire will also play into establishing your credibility.

What I found to be most effective is to approach someone, introduce myself (“Hi, my name is Pye. I’m a professional photographer.”), and then hand (or show) them my phone, which will have my Instagram, TikTok, or YouTube channel loaded and ready to view. When they see that I create quality imagery and have a decent following, they know that I’m someone they can begin to trust. Of course, since we are living in a post-COVID environment, I have my face mask on during the approach, and instead of handing them a phone to review my work, I just hold it out and show it to them.

If you are just starting out and you don’t have an extensive portfolio or following, then you should just stick with the introduction and ask to take their portrait. You may get a few more rejections, but there’ll be plenty of people that will still take you up on the offer.

Prepare Yourself For Rejection

To play this game, you’re going to have to learn to be okay with rejection. You don’t have to like it, but you have to be okay with it. This is true when approaching anybody for anything.

At the end of the day, this is a numbers game. One helpful tip I’ve discovered for dealing with rejection is setting a max number of rejections for the day. For example, you might accept that you’re going to get rejected 50 times, and when you do, you can head home. Of course, your number doesn’t have to be 50. Start out with a low number, like 5-10 times or something like that. Here’s the deal, though. When I set my number, I know there is no way I can possibly get rejected 50 times in a day.

Give Yourself Time Limits

Be reasonable with your time request. If someone agrees to let you take a picture, then take one or two minutes, maybe even up to five minutes. Whatever it is, be clear and ask for 3-5 minutes of their time up front. Then, be sure to respect the time limit. You have to understand that these people did not plan to be photographed by you. They have other things to do, or maybe they’re just enjoying their day. Please be respectful of the allotted time.

Find and Bring Out Their Personalities

Now that you’re shooting, I want you to go to the spots you scanned previously and capture the shots you visualized. When I was out shooting with David, I noticed a large flower on the wall while we were walking around and looking for people to photograph. On the way back, I asked David if I could photograph him in front of the flower. I had already pre-visualized this photograph.

The reason I like this shot is because of David’s personality. It’s great when you can incorporate their personality into your compositions, like we did here with David. If you know him, he’s a very fun, energetic, positive, and quirky guy. This flower reminded me of him.

In another example, I photographed a guy named Buddy playing his trumpet in Pasadena. For Buddy’s portrait, I positioned him against the wall and I held the trumpet in my hand, using it as a foreground object to frame Buddy against the clean background. There are tons of different ways to incorporate your subjects’ personalities into the street photographs that you take, even though you’re capturing these images within a matter of moments.

Communicate With Respect

Most of these people are not professional models. You’re going to need to direct & pose them, as well as communicate what kind of shot you want.

Don’t just leave them standing there, awkwardly staring at you in front of the camera. Help them pose. Direct and guide them as you are clicking away. Give them positive reinforcement, encourage them, and let them know how great they look. When you speak, don’t create awkward and uncomfortable moments.

One of my favorite things to do, after capturing one or two images, is to show them the images. They almost always think they can’t be looking that great, but when I show them the first or second shot, they quickly realize the shots are great and they get that much more into the shoot.

Provide Contact Information

Finally, when your time is up and you finish capturing someone’s images, be sure to get his/her/their information. These people were kind enough to let you photograph them. When you post the images, share the images with them and send them a full resolution copy. I can’t tell you how beneficial this is for you and your photography business.

The biggest problem I think photographers have in this setting is forgetting to get the subject’s info or else simply forgetting to actually follow up, produce the images, post the results, and share them. Make sure that you’re following up and actually completing the process, giving your subjects a good experience, just like you’d do for paying clients. They may not have given you cash, but they paid with their time. Respect it.

How to take pictures of strangers with an iPhone

Now that we’ve reviewed the tips, let’s continue our education with another video.  For this part of the article, we wanted to demonstrate the power of these concepts without any professional gear.   So we did a similar concept as above but limited ourselves to using the iPhone only.

Today, we’re hitting the streets of Orange, California and rather than a dedicated camera, I’ll be using my phone to photograph strangers. The great part of shooting street portraits with a phone is being able to edit and deliver the photograph right then and there!

Portrait #1: Finnigan

Our first subject is Finnigan, an adorable puppy. Since he was on the smaller side, I got low to the ground and shot from his perspective. Simple and easy.

Portrait #2: Taylor

Next, I photographed Taylor. I had her stand against the door and placed the camera right against the glass to capture her reflection. A quick tip for street portraits is to flip your phone to get your lens close to any surface. This will help get lower angles or reflections like this.

Portrait #3: Emerson

For our final street portrait, I asked Emerson to pose on this staircase. I angled up toward the top of the staircase and framed so that the lines in the photo would lead to his face.

Why Body Photography?

One of the top requests I’ve received as a test photographer is to capture updated body shots for a model’s book. Not to be confused with “digitals” that are done at the agency, body shots are exactly what the term entails; images that accentuate a model’s physique.

The parameters for a successful body photography session are very reminiscent of a basic model test; clothing is minimal, therefore the overall mood and styling need to make sense. This type of imagery can turn trashy in the blink of an eye, thus requires a bit more finessing for all involved.

A model is typically being considered for a specific brand or article in a magazine when this type of work is being requested by the agency. I will often inquire with the booker if this is the case and style the shoot accordingly in an attempt to help them book the gig.

Body Photography Clothing and Wardrobe

Body photography clothing is often undergarments, swimwear or a good pair of denim. There will never be a shortage of pictures of models wearing only a pair of jeans with arms folded across their chest. Swimwear and lingerie are also key clothing items to choose when highlighting a model’s form, but photographers are encouraged to be venturesome with their vision.

The location also needs to match the clothing whether it be a bikini at the beach or a bodysuit in an indoor setting. The main crops for these images are:

• full length
• 3/4
• waist up

Women can be tricky as we seek an accepted balance between minimizing and emphasizing their natural curves as the dissidence of non-inclusion is on the rise. No matter the body type, however, lengthening a woman’s body remains to be a constant. In addition to curves, some key areas to highlight on a woman are their legs, the indent right at the glute (if applicable), and their neck.

Some looks are best achieved in naturally-lit situations, while others are better accomplished with a one-light setup in the studio. Choose the lighting that will do the model justice with a proper gradation that clearly defines their body.

Keep the posing natural and unforced. I will often start my shooting sequence with the model in a starting position and have them move slowly from there.

Implied Nudes in Body Photography

Please note that a model does not have to be completely stripped of their clothing for an implied nude to work. It can be achieved with strategic lighting and body/prop placement. Mario Testino’s towel series is a perfect testimony of this. Implied nudes for body photography can become T&A awfully fast if one is not careful.

These images are very delicate in nature and require a certain level of intimacy that can only be established with their trust. Take the time to build their trust in you, as this will deliver a certain level of authenticity. Then, direct the shot from the expression of the model all the way down to the overall look and feel.

Body Photography for Men

As with women, the styling consists primarily of underwear and a good pair of denim. Body photography  for men tend to be more arduous because they often have to flex their muscles for periods of time and still manage to have a non-pained facial expression.

Simply having men look down and away from the camera while flexing produces great results and still plays to the overall mood. It is one less thing to focus on. Having them in a more relaxed pose that naturally emphasizes their musculature is a great way to achieve a successful expression for images where seeing their face is required.

The focus for men is on their muscles, all of them; particularly the “V” and core. A fool proof way to achieve definition is by lighting them slightly from the side to cast shadows across their body. Popular crops for men are:

• from the “V” on up
• 3/4
• full body

There are a number of different ways that a body shot can be orchestrated. Simplicity often reigns supreme over an overcomplicated setup any day of the week.

Make sure to have a clear vision from the start and connect with the model.

Conclusion

In conclusion, body photography is a unique and powerful genre that allows us to celebrate and capture the beauty within each individual. Throughout this article, we have explored various tips and techniques to enhance your body photography skills. Remember to prioritize communication and build trust with your subjects, as it is essential to create a comfortable and empowering environment. Experiment with different poses, angles, and lighting to highlight the unique features and personality of your subjects. Embrace diversity and celebrate body positivity, ensuring that every body shape and size is represented and celebrated. Finally, always approach body photography with sensitivity, respect, and an appreciation for the stories and journeys that each person carries with them. By following these tips and techniques, you will be able to create stunning body photographs that empower, inspire, and showcase the true beauty within. Keep exploring, learning, and capturing the essence of the human form, and let your creativity shine through your lens.

For more on model test shoots and lighting check out the following:

• How to Shoot a Basic Model Test | Gear, Shot List, Agency Requirements & More
• How to Test Shoot With Model Agency Represented Models
• How I Shot It – Simple One Light Portrait Studio Setup in a Garage

This post was originally published in 2018 and updated in 2022.

The components of a strong black and white image extend much further than simply converting a color image to grayscale. The execution of the photograph should be made with the intention of black and white at the helm, planning every detail from the styling and mood down to the basics of the background.

Often dismissed as an ancillary detail that should be glossed over, the dedicated background of a monochrome actually deserves to be given the time of day. Its details can either be the glue that pulls the entire image together or the reason the mood gets lost in translation. Below are several things to consider when choosing a background for a shoot.

Tip 1 | Studio vs. Location

Whether or not a shoot is captured in studio or on location will depend on the focus of the shoot. Studio is often chosen for monochrome images in a fashion and beauty setting where the focus is based solely on the styling alone.

Location shoots are usually reserved for environmental portraits or for when the model and the styling are part of a specific narrative. Whether it is about town or in a more private or personal setting such as a car or interior room, the background used must fit the styling as well as the story. It is important to take the time and care to ensure that the backdrop isn’t too busy and becomes a hindrance to the theme. The background should compliment and add to the overall theme, not detract from it.

Tip 2 | Understand the Mood

When determining a black and white photo background, it is important to consider the mood of the overall shoot; high key, low key and tonality are all things to consider. A lighter background evokes a softer feeling while a darker background tends yield more drama. Meanwhile, a setting comprised primarily of midtones is incredibly versatile and a safe bet, especially when shooting outside of the studio.

Tip 3 | Find the Contrast

The amount of contrast between the subject and the black and white photo background is dependent on the overall mood of the shoot, regardless of whether it is in the studio or on location. The type of lighting, artificial or natural, in relation to the overall styling and mood of the shoot is also a key factor.

Less contrast and more tonality are often a good choice when the background plays a role in the story. More contrast, on the other hand, plays up the mood by adding more drama.

[REWIND: 5 Tips To Take Better Black And White Images]

As inconsequential as the details of a background may appear, they are essential in adequately achieving the desired end result. Utilize the black and white photo background for what it was intended – a primary tool to add more theatrics to the storyline or narrative of a scene. It is attention to the minute details that bring an entire theme together.

The past year was dedicated to laboriously curating a portfolio that is worthy of attracting the necessary attention in hopes of taking the next big step and get to the next big thing. Hours were spent combing through a body of work that was executed with proper technicality and had a convoluted sensation of needing something more; it fell frustratingly short and something was missing. That something was a piece of me.

This revelation didn’t hit home until a few months of gluing the pieces back together after a personal rough patch, although it felt more like a desert of quick sand at the time. Lying before me were the pieces of a heart that shattered after the ‘Big D’, a falling out with a mentor and the experience with a fashion photographer who fell short of their admiration in real life. The result was the wall of trust tumbling down faster than #45 would like to construct his. 

Gear Used: Canon 5D Mark III, Canon 85mm 1.2L II USM lens, Broncolor Scoro 1600 E Wi-Fi RFS 2 Power Pack, Broncolor G2 1600Ws Pulso head, Broncolor Para 88 Reflector Kit with Focusing Rod

Tech Specs: ISO 100, F/2.8, 1/500th of a second.

Somewhere along the way emotions were either bottled up or blatantly ignored in exchange for playing by the rules while coping and pretending everything was fabulous. Ironically it’s the breaking of these confines that differentiates and launches careers. A temporary and slightly overwhelming sensation of being lost formed after failing gloriously and ominously loomed overhead like a giant raincloud awaiting a relentless downpour.

It took acknowledging these emotions and feeling their ferocity to confidently build two solid legs with which to stand again. These innermost neglected thoughts are what facilitate a connection that resonates. For the first time in a long time, a desire swept over to channel these emotions back into the art and use a personal chapter to inspire a fashion story.

Gear Used: Canon 5D Mark III, Canon 85mm 1.2L II USM lens, Broncolor Scoro 1600 E Wi-Fi RFS 2 Power Pack, Broncolor G2 1600Ws Pulso head, Broncolor Para 88 Reflector Kit with Focusing Rod

Tech Specs: ISO 100, F/4, 1/250th of a second.

The Plan

Christine was the only model who came to mind in regard to casting as she had been a first-hand witness to these events and was therefore able to take my direction and properly mirror the emotions. She also had that sought after European flare with New York City experience to elevate the entire concept.

The original plan was to capture it in Paradise Valley, Montana up until a relentless fire season accompanied by suffocating smoke and even worse visibility broke out in full fury. The location was only a minor detail in the planning that didn’t pan out. A delay in shipping forced the shoot to be pushed back a few calendar days and the result was the loss of an entire creative team. 

Gear Used: Canon 5D Mark III,Canon 50mm 1.2L USM Lens, Broncolor Scoro 1600 E Wi-Fi RFS 2 Power Pack, Broncolor G2 1600Ws Pulso head, Broncolor Para 88 Reflector Kit with Focusing Rod

Tech Specs: ISO 100, F/4, 1/200th of a second.

All of these obstacles made for the perfect reasoning to cancel the photoshoot and regroup, which I would have done had it been any other circumstance. My story of persevering and overcoming the odds had to be told and it was the most therapeutic moment of my adult life.

A popular wedding venue was called upon the night before the shoot and it wasn’t until scouting the location that everything clicked into place. The garden backdrop was the perfect visual element to represent rebuilding and blooming again and it was also a great canvas to accompany the feminine floral garments that had already been pulled. Additionally, a friend was passing through from Toronto and as luck would have it she packed her makeup kit.

The orange skies and 100 degree heat posed as a worthy adversary, one that was easily combatted with the use of Broncolor studio lighting set at approximately a quarter of its power outdoors. The plan was to combine the artificial light with the existing light and use them as a way to compliment each other and establish the overall mood of the shoot.

The Broncolor Scoro and Para 88 with focusing rod was the only gear used and it provided a number of different looks. My assistant and I would balance the exposure and adjust the focus of the light within the Para as we moved around the garden. Christine stayed in the air-conditioned bridal suite and kept hydrated until the settings were dialed in as a safety precaution.

Gear Used: Canon 5D Mark III, Canon 85mm 1.2L II USM lens, Broncolor Scoro 1600 E Wi-Fi RFS 2 Power Pack, Broncolor G2 1600Ws Pulso head, Broncolor Para 88 Reflector Kit with Focusing Rod

Tech Specs: ISO 100, F/4.5, 1/200th of a second.

Yasmin created a makeup look that was effortlessly natural, easy to build upon and seamlessly transformed to a beautiful dewy look with bolder lips in accordance with the stronger outfits.

Wardrobe was finalized ahead of time and used to establish a shot list in accordance to each garden location and the various emotions planned for each location. The first looks of simplicity were paired with raw vulnerability and transitioned to a more confident presence that were every bit as soft and feminine as they were strong.

Gear Used: Canon 5D Mark III, Canon 85mm 1.2L II USM lens, Broncolor Scoro 1600 E Wi-Fi RFS 2 Power Pack, Broncolor G2 1600Ws Pulso head, Broncolor Para 88 Reflector Kit with Focusing Rod

Tech Specs: ISO 200, F/8, 1/160th of a second.

The delicate dance of balance between Christine and the lens was a harmonious blend of give and take that progressed into a gentle crescendo throughout the shoot. A strong connection developed and made directing Christine into position effortless by use of subtle movements which kept the poses from feeling stiff and rigid. The ability to communicate by mirroring each other without uttering a word is incredibly beautiful.

My personal chapter and the attached emotions blossomed into a fashion story with an elegant feminine flare that was worthy of being shared. The artistic pairing and feeding off of each other’s energy is what made the story come to life and set my heart free. 

The channeling of emotions into art has been an outlet for artists as long as history has recorded it. This practice develops a passionate voice of vulnerability that fuels an authentic body of work.

It used to be a running joke that photography was cheaper than therapy with each new purchase and business venture. All joking aside, there is an immense amount of strength in embracing the vulnerabilities and recognizing that sometimes an additional source of support is needed. Photography can be a healing form of art that challenges the artist and shatters barriers by means of self expression.

Learning to emote as a photographer makes it easier to direct a model and achieve the overall mood of a shoot. Channeling these energies, both positive and negative, in a healthy way requires bravery and nurtures a body of work like nothing else can. Owning your truth is powerful and freeing.

Also drop by my website to view other fashion editorials that were conducted with a similar approach.

Note: This article was originally written in 2018 and updated in 2022 with more information.

#1 | Over The Shoulder Pose

Often revered for beauty work, close-up portraits and headshots, over the shoulder poses focus on the model’s face. It is all about that neck and jawline and therefore must be given the appropriate attention.

Start by having the model bring her shoulder toward the camera and look over it. Give verbal cues such as tilting the chin up and down, forward and backward as well as tilting the head left or right to minimize the wrinkles of the neck and avoid a double chin. If all else fails, you can either physically place their head where it needs to be or ask them to give you their selfie angle from that perspective.

This simple pose can be elevated by having the model use her hands to play with her hair or gently touch her face. When posing the hands of female models, make sure that the hands do not resemble claws and that the over all image looks natural and unforced.

#2 | Power Pose for Female Models

This refers to the model’s stance and means that she is facing the camera head-on with her feet firmly planted and several feet apart. It works especially well for full body frames and 3/4 crops.

A power pose is simple in essence and pairs well with stronger facial expressions. It can be static and very linear with the model’s hands on hips or in pockets, at her sides, or folded across her midsection. Placing the limbs in an asymmetrical position can also add an element of visual interest to an otherwise minimalistic pose.  This is a great female model pose to show power and dominance over the scene.

#3 | S-Curve Pose

In addition to lengthening women, knowing how to emphasize and minimize natural curves for an hourglass shape is imperative when posing female models. Angling the model away from the camera is an easy way to capture the natural curves of her hips and lower back.

To minimize curves, have the model place most of her weight on the back foot with the front foot crossed slightly in front. The lower part of the body can be further minimized by having the model lean forward slightly. A model’s curves can be enhanced by having her place most of her weight on the front leg if photographing her from the side. If the model is facing the camera head-on, have her “pop a hip” by placing most of her weight on one leg.

Bonus Tips When Posing Female Models

Remember that a pose is null and void if the expression isn’t up to par. A good rule of thumb is to start simple and progress accordingly. When posing female models, gentle movements from side to side and teaching the model to rock back and forth while accentuating her curves are great ways to keep the pose from feeling static and stiff.

The difficulty of these simple poses can also be increased by adding props, movement and appropriate facial expressions as a rapport develops throughout the shoot. They are also good poses to fall back on when the attempted shot isn’t working.

Conclusion

Learning how to pose and direct a model improves your skills as a photographer. It also helps recognize those subtle cues and identify when a huge pose is coming to prepare for those future shoots with working models. This valuable skill set to nearly guarantees a successful shoot no matter the circumstance.

More Model Posing and Fashion Photography Information

For more on model test shoots and lighting check out the following:

• How to Shoot a Basic Model Test | Gear, Shot List, Agency Requirements & More
• How to Test Shoot With Model Agency Represented Models
• How I Shot It – Simple One Light Portrait Studio Setup in a Garage

You can also check out more poses on my website at https://brittanysmith.co.

Key to understanding this is to understand that B&W doesn’t simply mean all color is removed from the image. The tonality of those colors are varied in lightness and these dictate the look of the final image. Also different cameras, as was the case with film, will represent and interpret color differently, not to mention the paper they are printed on, so it’s not a bad idea to test each beforehand…if you need to be that discerning.  

Simplicity is often key to black and white photos

Choosing to work in greyscale allows us to hone in and focus on the individual thus making the overall set and scene less important. Keep the aesthetic relatively simple, approach it with a less is more attitude, and choose an aperture and exposure that makes the subject pop when shooting in a busy location.

Continue this mantra all the way through to the editing phase too, as nothing kills a perfectly executed image quite like that of a hack editing job.

Look for Texture (and personality) in your black and white photos

Think leather, wool, faux fur and other shiny things that light well in regard to styling. Textured textiles photograph impeccably well and the lack of color information only amplifies the details.

Hair is another key focal point in the image and can be paired with accessories. A properly stylized shoot with various textures will elevate the overall image.

Expressions are essential

Connection and expression should be the main priority of any image but especially important in black and white photography. Encourage the subject or model to over exaggerate their facial expression to ensure that it comes across. Show them the back of the camera to encourage them that their efforts are or are not working and they will more than likely fully commit to the shot. Everything can be there from the styling and the lighting but if the face is dead the entire concept is lost in translation.

Make sure the contrast is fitting for B&W photos

Tip number 6 is that drama exists in between the shadows and choosing whether or not to make use of them dictates the overall mood. Choosing less contrast and shadows creates a lighter feel with more tonality while embracing more creates an edgier vibe. Bruce Weber and Helmut Newton are prime examples and their works make for great study material. Additionally, high key and low key exposures are great uses of expression.

The use of contrast and shadows is ultimately a personal choice in black and white photography. Take the time to meter properly and create for the sole purpose of a finished image sans color. If aiming for more contrast, push it slightly during the shoot to reduce the need to push it in post.

Look for the Imperfectly Perfect

The next black and white photography tip to keep in mind is that perfection is overrated and often translates as mundane across an audience. Imperfections are what pique interest and draw attention to the subtle details throughout a piece. This is easily achieved when working in the unpredictable environment of the outdoors. The blowing wind creates ripples in fabric and movement of the hair while the ever changing light creates different patterns that wouldn’t otherwise be there.

The studio environment is often typecast as perfection as well, however it is the curated imperfections that make it this way. It is an art form to pick and choose which stray hairs make the cut and deciding when the hair needs to be messed up a little bit. Also pay attention to personal imperfections as they are often revered as the most attractive component of a person.

When turning images Black and White, Take the time to simplify the overall frame, eliminate distractions and shift the focus to the subject. It really is all about the small details and limited distractions; the best portraits are the ones that appear seemingly effortless and seem minimalistic.

Consider Digital Filter Options

Instead of black and white photo editing, using filters with your camera set to monochrome can be a great help, and with digital you can see quickly how a certain filter color affects your final image. Not everyone is yet adept to using them, or has the required equipment, but most modern DSLRs will give you filter options digitally. Surprisingly, they can be quite effective. It’s a rather simple and quick tool I often use to shoot a test shot, to see which shots will look good in B&W before heading to post processing and finding it just didn’t suit. The example screenshots are from Nikon, but anon has similar menu choices.

Note: RAW shooters beware that your images will be in color when uploaded to the computer. You could shoot RAW+JPEG as a solution.

Selecting In-Camera

First, go into Settings and select ‘Set Picture Control’ and then ‘Monochrome.’ Don’t stop there, however, go a step further and you’ll see ‘Filter Effects.’ Scroll down to ‘Toning,’ where you’ll see a scale of colors each able to be even more finely tuned once it’s selected.

What do those colors do? Essentially, the color of filter you select will lighten the tone of that particular color, and make its opposite darker in the final image. For example, a Red filter will generally lighten skin tones, but turn Blue, its opposite, darker. I usually use the red for photographing people and tends to be my go to all round. It is, as stated above, all subjective to the look you are going for, so I encourage you to play around.

TFP Photography Background

Time for print are three words are often found to be nauseating and a slap in the face by a number of photographers, especially after paying one’s dues. What is even more alarming is the number of hypocrites among us asking up-and-coming hair and makeup artists and wardrobe stylists to provide their talents for free on a paid shoot in exchange for exposure.

A photographer that works with people will most likely be asked to be a part of or actively choose to participate in TFP photography shoots while nurturing a blossoming career. There are definitely some advantages that can come from unpaid work. These collaborations can build a wonderful network, establish a solid creative team and exponentially increase the caliber of a portfolio. As a common courtesy, take the time to properly tag everyone involved on social media. Some future jobs are attained by word of mouth from these TFP shoots. You can find additional tips for maximizing free shoots in our post here on Adorama’s blog.

When to Use TFP Photography

Since there is no monetary compensation for product used or services rendered, every TFP shoot should be mutually beneficial for all parties involved. Trade shoots are a time to try out new hairstylists, makeup artists and fashion stylists for future work. There are a large number of creative teams that are founded by testing together and developing a good working relationship. Everyone works together to improve their book and get to that next level, whatever it may be.

Some good uses of TFP photography are wedding vendor collaborations for publication or advertising, testing out new gear and lighting, and fashion stories or editorials. Everyone is working toward a common goal and end product. Everyone’s time and efforts are valuable; they should be treated as such. I currently plan out my editorials and curate my team for the best results with the understanding that a good team will invest in higher end products. Since I am not paying to renew my co-collaborator’s kits, I will often provide food and coffee throughout the day as a sign of my appreciation.

When to Ask for Compensation

Situations arise that fall beyond this scope of practice and not everyone gets something out of it. For example, a makeup artist may request a photoshoot that demonstrates a skill set that falls outside of the established repertoire of your book. In this case it is perfectly acceptable to request compensation as you are doing them a favor. Say the shoe is on the other foot and a better working model is necessary to properly execute a shoot. It would be wise to invest in the model since they are doing you a favor.

Personal TFP Photography Experience

At the end of the day, we all want to get paid to do what we love. Nothing says I don’t respect you quite like asking for free creative services in exchange for exposure while getting paid. Treat everyone the way that you would want to be treated and the reward is plentiful.

For example, I was once asked to cut the bulk of the team’s budget and offer exposure across a company’s social networks as compensation while halving the models’ previously agreed to day rate. The creative  team was there physically, but there was a lack of energy and magic that usually ensues. The models, on the other hand, didn’t show up and finding replacements delayed the entire workday by several hours.

The quality over quantity route is definitely the way to go. Choosing to gut production value for the sake of a slightly larger profit margin only causes unnecessary stress. Invest in the team with the final product in mind and people will see its value. You get what you pay for.