Print model test and interview: Ashton Warren 2010

Photographer: Rome Wilkerson

A good starter portfolio contains casual, sporty, trendy, and dressy (fashion) type images. Swimwear is generally not advisable for the portfolio you will be shopping around on general terms, but if swimwear is an option to your modeling interests, then it benefits to have some swimwear images at least available when needed. Many models will carry these type shots in an envelope in the back of their portfolio case, just in case. Lingerie is not advisable for a portfolio (unless you have tear sheets from catalog work you've done in Victoria's Secret, or the like!), and nude or figure images are absolutely a sure way to ensure that no agency in town will sign you for serious modeling work. Remember also that while photographers often want to shoot artsy images (and what photographer doesn't?), these are great to have for your own use, but a serious modeling portfolio is more straightforward work that displays the models abilities, not the creative genius of the photographer. By all means do all the artsy work you can, but keep a separation between that and what you actually use in your portfolio.

Models wardrobe is important, and in a TFP or testing situation, almost always the model is responsible for providing his or her own wardrobe. Some models arrive for a shoot with their entire closet in the trunk of their car, in suitcases, bags, or buckets. That can become the extreme, but always plan to bring more than you really anticipate needing. The photographer will work with you at the time of the shoot to pick and choose what outfit's best fit the overall objective, setting and activities. A good basic starter list of wardrobe items to bring includes:

1. Jeans

2. Leather Pants

3. Overalls

4. Capri's

5. Shorts (designer as well as cut-offs)

6. T-Shirts (white, black, colored, with and without graphics and "sayings")

7. Shirts and blouses - solid colors and pattern

8. Skirts

9. Pajama's (not lingerie, but a man's oversized shirt or flannels, for instance, can be great to use)

10. High heel shoes and Pumps

11. Tennis shoes and assorted socks (ankle, thigh, knee)

12. Hose and Stockings

13. Dresses (short, long, casual "summer," elegant and dressy)

14. Jackets, Coats and Sweaters (depending upon the weather, of course)

15. Swimwear (bikini's seem more common, but a good one-piece is ultimate)

Unusual items for wardrobe are also sometimes nice. Do you have access to someone's military uniform? What about something you've worn for Halloween? Perhaps you are a cheerleader or play some sport that has a unique uniform? Bring these along.

Makeup should be a lot less of a concern than most models would think. I prefer a model to arrive for a shoot with her normal makeup already applied. This should be more than on a casual day, however, not as much as if going out to a nightclub, etc. Foundation, lips, and eyes are the primary areas to concentrate on. Nails are also a concern, though this depends again upon what type of content is being shot for. In 'glamour' type situations, a full set of professional nails certainly can't hurt. For more casual and general portfolio work, nails should be presentable and nail color should not be extremely bright or overdone. Matching nail color to lipstick can be quite beneficial. Toe nails, if wearing sandals, etc., is a consideration also and should match accordingly. Hair is vitally as important as makeup. You should attempt to be ready to adjust to several styles during a portfolio type shoot, from long and straight, to curly or more "made up." Bring clips, "scrunchies," barrettes, Bobbie-pins, bows, and any other instruments used to help adjust your hairs' look from down to up, pig- or pony-tails, and anything and everything above, beyond, and in-between.

Minimize jewelry. For a very elegant, dressy shot, necklaces and bracelets may be okay, but for general shots you should not distract or draw attention away from yourself with jewelry. Even a wristwatch of multiple rings for most shots is discouraged. A consideration when going on location is that when you have to remove such items, you run the risk of them being lost. Leave these items at home, or at least bring a purse of jewelry case to keep them safe in during a shoot.

Props (including such things as sunglasses, hats, sporting equipment, etc.) are great tools to use as long as you remember that it is the model in a portfolio that should be the center of attention, not his or her activity and/or any props or settings being used. I often see photographers seeking information on fantastic new locations they can use to shoot at that will help enhance their images. General portfolio work is more about the model than anything around them, so even the most mundane settings can be ideal for portfolio work. I use a lot of walls and solid backgrounds wherever possible in order not to draw attention away from the model. At the same time, a balance of locations and sometimes even somewhat distracting settings can enhance an image, even for a portfolio. Use your own best judgment as always to come out in the end with the material you need for your own application.

Some good suggestions for props to be used in a shoot may include, but certainly is not limited to the following:

1. Sunglasses and regular glasses (even if you normally wear none).

2. Hats (baseball style, designer, funny or unusual).

3. Scarf's.

4. Sports equipment (bats, balls, rackets, etc.).

5. Brief case for business look.

6. Books and/or backpack for the look of a student.

7. Umbrella's.

8. Anything your imagination and resources have available.

This is a partial list from an extensive prop listing I established over 20 years ago, and that I still use today! Props can be so totally subjective to too many elements to actually provide a good, solid and accurate listing. Use your imagination - the above is a starter for examples.

Arrive at the shoot ready to go right to work with the minimum of makeup retouch, and have ideas in mind already for good outfit combinations. Again, the photographer will generally work with you on the outfits, and a good thing to do at the beginning of the shoot is to show the photographer what items you have brought along so that during the shoot, the photographer can keep wardrobe changes in mind based upon the backgrounds and locations you are working at.

While all emphasis should be on selecting the best TFP photographer(s) that you can, if you're a model who intends to build a portfolio to be used to solicit yourself to agents, or towards modeling job, remember that when you leave any situation where you have shown your portfolio the impression you wish to leave behind you is "wow, what a great model," not "wow, what a great photographer that model had."




BUILDING THE PORTFOLIO:

Do I need a hard copy portfolio?

The printed, "hard copy," portfolio is a tool that models have used forever as one of their most important marketing devices. The more intense or high fashion / commercial the potential job is, the more vital a portfolio has been to the model. Today, a lot can be done just using an online portfolio, at least in the non-major markets. A model in New York might as well forget it if they don't have one, but in other markets it is not as vital today as it has once been. More and more, clients are receptive to reviewing an online portfolio first, but if there is a "go see" to meet (the modeling version of an audition), then it can be a great thing to bring along. For children, it would be less vital as for someone of a more adult age. Certainly if someone is shooting a lot and has good images in their online portfolio, it's not a huge cost to have a printed portfolio as well. A nice, professional, portfolio case is around $50 and should last for many years. The only other cost then is the enlargement of photos to put in it.

What should it contain?

Generally, a working professional model will have tear sheets in their portfolio. A tear sheet is an actual page torn from a catalog or magazine (or ad copy) of something that has actually been published. Those without these will often use 8 to 10 really good images - each being different in style to show versatility. Do not mix black and white and color in the same portfolio (unless they are tear sheets). Some models will have several portfolios - one for high fashion, one for more commercial looks, etc. At the current level of most people who are probably reading this, I would not worry too much about that at present.

In the absences of actual tear sheets, a good starter portfolio should include fashion, casual wear, some expression, shots depicting action, and possibly shots mocking product ads (try not to show actual product trademarks). For late teen and older, a swimsuit shot (if that type of work interests you) may be included also. Definitely avoid anything like lingerie - unless you're actually going to meet a client for that type of work specifically (catalog, ad, etc.).

For kids, I'd try to include images that show them doing "kid things;" sports, games, school, playground, and things on that order. Interacting with others is okay, but in a portfolio if your image includes other people, YOU need to be the center focus point of attention.

Diversity is what you’re after in a short 8-10 photo presentation. A model who has done a lot of work can get away with a lot more than 8-10 images in their book, by the way… but never put so many that you bore the person reviewing it. Also, it benefits to show different photographer styles. This gives more diversity to your looks, but also demonstrates that you can work with more than just one shooter. Avoid photographers who feel the need to plaster their name or logo across half the image… this is unprofessional. It’s fine when they are advertising their own work, but totally destroys any value to the model. A client looking at a models book does not want to see a photo shadowed by some guy's name. Also, never use any images that say “PROOF” on them.

As a personal preference, I'd suggest using different images in a portfolio than on the comp card (if you have both a printed comp and a book). This only because it optimizes your ability to show more images... but it's definitely not a hard set rule. Think of a comp card as the trailer to a movie, and then the portfolio as the actual full movie. In both, you are the star. Again, if you include images with other people in them, make sure it is clear that YOU are the star in the shots. Do not include images on your comp card that include other people unless they are obscure, turned, or more of a prop than a part of the model shot. With tear sheets, of course, that may not always be possible... but definitely keep that in mind when selecting shoot images.

Is there a specific format to follow?

Photos enlarged to 8x10 inch, or larger, is a minimum. 9x12 is more common because it more closely matches the dimensions of a film negative/positive transparency image. 8x10's for headshot is common, but your other photos should be full frame from the camera in their dimension. Make sure these are enlarged from the original film negative, slide transparency, or high-resolution digital image (do not enlarge a web-sized photo to use in your portfolio as the quality of the image will degrade your look). Digital images should be the full resolution and at minimum 300dpi. Color or black and white is fine, but do not mix both in the same portfolio book. Professionals use a leather (or imitation leather) zippered case with a handle... These types of portfolio binders may be found in Texas in stores such as HOBBY LOBBY and AARON BROTHERS. Pages are black backing and with clear plastic overlay. A nice binder will have a pocket in the front or backside where you can also keep some additional images (in case there are specific requests during a go-see to view something more), and it makes a good place to stick some extra comp cards also.

How do I build the Portfolio?

Professional models test with commercial and fashion photographers. Agencies help guide their models to the proper people to work with. These are people whom the agency believes create the type of images that the agency's clients seek to see. Good agencies help their models test at no cost, while others provide photographers who charge big fees. You decide which agencies really care about your and your career, and which consider you part of their daily income and nothing more. A proper agency makes their money when you work, not when you are making a portfolio or having headshots done.

Be selective in who you shoot with. Free photos are expensive when the quality of the work makes you look bad. It's nice to help out that beginning photographer, but keep in mind that if they are talented and create nice images it is okay... but it hurts you when they shoot with bad lighting, uncalled for shadows, improper posing, bad Photoshop techniques, light stands and background stands/paper ending half way across the photo, and etc. Free can become expensive if the shots are not really up to par. Don't let bad choices cost you. Review a photographer’s work and have your friends view it as well in advance of agreeing on a shoot. Make sure it is of the quality you will need. Consult with your agent if you are offered TFP with someone and make sure that the quality of their work meets industry standards. Marginal photos can land you free jobs, but when you advance to dealing with real paying clients... you want to be sure you have professional quality work to represent with.

Make sure your agreement with the photographer is that you receive access to the negatives (or more properly in the professional film shooting world, the transparencies), or that in digital you are to receive access to (download or CD) of full resolution shots at 300dpi or more. Do not sign away your rights to anything beyond "self promotion" if you do sign a release. If a photographer wants rights to the shots, let them pay you as a model like the professionals do.

Do not alter images provided to you by photographers unless they have given you express permission to do so. A photographer owns copyright to the photos that they take (owning copyright does not mean they have a right to sell the photos without your permission, however). If a photographer wants to sell the shots, obtain an agreement for percent of sale if sold, or a specific fee based upon use. Make sure you know where the images will be sold and what purpose they will be used for and for how long. These are professional model basics that amateurs can start to apply too.

WHEN HIRING A PHOTOGRAPHER... Make sure their work is good. So many digital shooters have purchased their first camera last month and have their price list online already. Be careful of pricing as you can easily overpay and be taken advantage of quickly. If you don't know who to hire to help shoot images for your comp cards or portfolio... contact local advertising agencies and see which photographers they use. This is even a better approach than an agency or websites preferred list, since it is the advertising agencies that you really need to impress with your book, right? They do the hiring with their client.





How Do I Learn To Pose?

By James Folkofske, Photography & Fine Art

The best way to learn to pose is to "just do it!" Get as much time in front of the mirror and the camera as possible. Clip out magazine ads and put together a "pose book" of 30-50 different poses. Practice these and find out which ones work best for you. A professional model should be able to easily move between many different poses which are especially effective for him/her.

Another good technique is to study your proofs and contact sheets from photo sessions. Find out what types of poses make you look the best “on film”. Yes, what shows on film and what shows "in the mirror" of sometimes different.

One key to posing is to “break symmetry”. Poses look more interesting if arms and legs are "uneven" (or don't match left-to-right). A lot of times you'll see that a model has his/her body “twisted”. This is very effective at making the model look like they are "in motion" because the photo looks like something has just caught their attention and they are turning to see what is was.

In the same way that you should "break symmetry," you should also practice your balance and condition your legs. Many times you'll need to hold a difficult pose which makes you feel "off balance." While it may feel terribly uncomfortable, it looks GREAT on film. Once you don't have to worry about losing your balance, you can have more fun with the photos, and your smiles will be much more natural.

Finally, one of the areas that models always seem to neglect are facial expressions. For any kind of commercial work, facial expressions (besides the "smile" which everyone is used to doing) are a key to getting jobs and to being effective in communicating emotions. Practice in the mirror for ten minutes every day making funny faces. Really exercise your facial muscles. The more conditioned those muscles are, the easier it will be for you to come up with creative gestures and expressions.

If you are careful in studying what works well for you, and you've come up with a set of poses and facial expressions that work great, photographers will love you. They will soon be passing the word around to “hire her—she never has a bad picture”.



There are two keys to posing. First is to “break symmetry”. The second is to keep “in the light”.

A person standing with arms at their sides looking right into the camera looks posed and "boring." However, look through the fashion magazines and not how the model's body is often twisted, with the hips pointing a different direction than the chest, and the face may be pointing yet an entirely different direction. Also look at the hands and feet. Notice how one hand is higher than the other and that the feet are often pointed different directions or standing on different levels?

It is this "broken symmetry" which makes photos look interesting and dynamic. It looks like the model is actually moving and doing something even though they may be perfectly still in the pose.

The other main rule is to “find your light”. The photographer will normally have one light which is far brighter than the others. For the most part—you want to point your chest and face toward that light—so that the important parts of your body are lit well. Of course, the photographer may tell you to point your body different ways—but this is to emphasize different parts of the body. However, if the photographer isn't giving you much for directions—try to keep pointed toward the light.

How you pose will depend upon the way that the photographer likes to work. Some photographers prefer models who "move to the music" and simply takes "snapshots" when he/she sees something they like. Other photographer's will meticulously pose every little detail—down to what direction your fingernails are pointing. With the first type of photographer—the best thing is to “KEEP MOVING”. With the second type of photographer, the best thing is to “NOT MOVE AT ALL”. You will have to learn to adapt to the style of the photographer you are working with, and he/she may have to adapt to you somewhat as well.

Any Other Advice?

Photographs can be your best allies in finding jobs as a model. You should be willing to "bend over backwards" and "work for free" on photographers’ pet projects whenever you can to get more experience, better portfolio photos, and better working relationships. You want to be every photographer's "favorite model", because you'll be the first one called when the photographer is casting a part you're appropriate for.

Many models make the dreaded mistake of thinking after they've had a few paying jobs that they should be paid every time they pose/model. This is the worst possible attitude a model can have. It's like a store that opens up with lots of advertising, and once it gets its first couple of customers—figures it never has to advertise again. When you're doing "tests" and working "on trade" with photographers, you are building up your advertising. And, you are doing "marketing" to keep yourself in front of the eyes of not only the photographers—but all the clients of the photographer who might see your image.

Many times the client will ask the photographer to use “the same model as your poster”. They like your look. You don't even have to interview for the job! You can't BUY better advertising than that!

In the same way, you should bring creative ideas to photographers for projects that you are interested in doing for yourself. Some photographers love a "challenge" to do something wild and new. The best of all worlds is when the two of you work together to come up with a piece to be published to promote both your skills (like a postcard which both of you can use in mailings, or a poster, or even a calendar). While most of the time you'll both have to invest your money in the advertising, if the image is good enough, it might even sell to a publisher—netting the both of you a small sum and great publicity for your efforts.

No matter who you are or how long you've modeled, you should always jump at the opportunity to “do another job”. If nothing else, it keeps you in practice. At the very best, the small and low-budget jobs are the creative works that win you the national contracts. Always work hard and never give up!