Respect Your Models

Audi in the Woodlands

I recently completed a small project during which I shot with several models, including two very lovely ladies for whom the project was our first shoot together. During the course of the shoot those two models, as well as two of my regular models, told me how nice it was to work with me.  I have received this compliment many times over my years of shooting and I had really never given it much thought. After all, I’m a good person and I try to treat people well, so I certainly had hoped that shooting with me would be a “nice” experience.  The first model that said this to me during this most recent project, however, said it with such intensity that I simply had to ask her what she meant. Her response surprised me.

She told me she had recently worked with a photographer who continually commented about what he didn’t like about her body or her poses. He made snide comments about her weight, though in my opinion she has a very well formed and toned body; how he didn’t like some of her poses and generally was not pleasant to her during the shoot.  This young lady is one of the most pleasant people you’d ever want to meet. She has a gorgeous smile, is always ready for a shoot, shows up on time and puts great effort into giving the photographer what he or she wants. I’ve worked with her four times over the last year and she’s just a real sweetheart.  I’m shocked that anyone would treat her so.

Her story made me think about the photographer to model relationship and what it means to me. So when I received the next such compliments, I asked the question, “Why do you say that?”  In every case the model was able to tell me specific aspects of shooting with me that made the experience pleasant and an event to be repeated rather than to be avoided.  Two of the models also related experiences they had encountered with other photographers which made them unwilling to work with those individuals again.  Once again, I was surprised that these ladies would be treated with such disregard for their feelings.

Now, I certainly hope these photographers are the exception and not the rule. It’s certainly been my experience with the few other photographers that I’ve occasionally worked with that models are treated with respect though, of course, shooting with a group of photographers and models is quite the different dynamic than when a model and photographer are shooting in a one-on-one situation.  Still, it doesn’t benefit photographers as a profession or avocation when models are treated poorly by someone who professes to be a photographer.

I am therefore going to share my philosophy and process of working with models in the hope that it will help other photographers who may not have much experience in working with models, and specifically glamour models, in front of their lens.  Certainly not every person who reads this will be influenced to change the way they act towards their models.  The ones that won’t change probably treat people poorly because of their personality and their  attitude toward humanity in general. Nothing I, or the models, say will change how they treat others.  I’m betting, however, there are a few photographers out there that simply don’t know what’s expected of them during a shoot and are willing to consider better methods so that they get the results they want while ensuring the models will want to work with them again in the future.

On the Beach with Sierra

I think the most important thing to keep in mind when shooting with a model is that they are your collaborators in the process of creating the image. Yes, you’re setting the exposure, the lighting, choosing the composition and the depth of field, and perhaps even directing the model into specific poses, but without the model, what would be your subject? What element beyond the background, the foreground and the props would you have in your final image? You need the model, otherwise you would be shooting still lifes, landscapes, or bugs.

If you’re shooting with a model, she or he, as the case may be,  is most likely the subject in your image. If you want the most from your model, treat them as a dynamic partner in the creative process. Talk to them, listen to them, and consider any suggestions they might have for the image. If they are experienced, they already know the poses that make them look the best and they often have great ideas about what poses would work well for the image or scenario you’re trying to capture. Consider what they have to offer and make use of it as appropriate.

Models are people too.  Don’t treat them as simply objects or props. Many of my models have willingly put themselves into awkward positions, donned uncomfortable clothing, stood in the cold, soaked themselves in freezing water, and posed with sand blowing in their face while standing barefoot on a hot desert floor because they shared my vision of the final image. They also did it because I explained what I wanted, made sure that a comforting towel and robe, a hot cut of tea, a wet washcloth and a cold drink or a helping hand was available to them immediately after I got the shot. I always keep what I call a “comfort pack” with me when I shoot. It contains a robe and slippers for the model, a pack of wet wipes, mosquito repellant, a large towel, a bottle of water, a washcloth, lotion, paper towels, and a clean brush. Some items seldom get used and some items get used quite a lot. But, they’re always available if the model needs them. Most of the time, depending on the duration and location of the shoot, I have hot or cold drinks available for the model as well. Keep the model comfortable or at least aware that the discomfort will be short, and you’ll get far more out of your model than you could otherwise expect.

Encourage your model. I certainly can stand to improve in this area.  I often get so caught up in the techniques of the shot that I often forget to provide feedback to the model. I’m still working on this, but I do try to let my models know when I think a particular pose or expression is working. I use words like “great,” “gorgeous,” “beautiful” or phrases like “that’s it,” “very nice” and “terrific expression,” to encourage my models. What’s more, I mean it. If I don’t like a pose or an expression I don’t tell them I don’t like it, but rather I suggest another pose or another look. The idea is to keep up a positive flow of energy between the photographer and the model. Reinforce everything that is working and let what doesn’t work slide on by.  Keeping the model happy and encouraged makes the shoot flow better and keeps the energy high.

Keep your hands to yourself as much as possible. In most cases, it’s not necessary to touch the model. Talk to the model before the shoot and let her know how you give directions. I often demonstrate glamour poses to my models and I know it has to look silly for a person who looks like me to strike a glamour pose, but hey, it gets the job done and I can indicate to the model what I want without a lot of words or trying to push her around like a mannequin. Sometimes you do have to move a hand or an arm slightly, but before you touch the model, ask (and get) permission first.

Finally, and I think this is where a lot of photographers get into trouble, understand your model’s limits and don’t try to push them beyond what they are comfortable shooting with you. If in doubt, ask before the shoot or before you get to that particular sequence in the shoot. If the models indicates discomfort with the pose or the concept, don’t push it. If such a pose or concept is integral to your shoot, it’s imperative you discuss it with the model before getting her to commit to the shoot and don’t spring it on her as a surprise the day of the shoot. It’s always okay to ask about a concept, but it’s never acceptable not to take no for an answer and to try to push a model into an uncomfortable situation.

Models are people just like your sister or your mother. They can collaborate with you and help you create some wonderful images if you treat them right. If you don’t, well, word has a way of getting around and you may just find yourself unable to get anyone to work with you at all.

Lindsay by the River

Get Your Critique Heard

A Different Perspective

If you are a photographer, writer, painter or simply someone who loves viewing art and providing feedback to the creator of that art, you should be aware that often the content of your critique can be utterly dismissed simply by the manner in which you offer it. Anyone can provide a critique, and most do. Stating something as simple as "I like that" is a critique. It's not a very good critique and it doesn't help the artist improve, but it is a critique nonetheless. Likewise, "that sucks" or "that's not my cup of tea" is equally valid as a critique, and is similarly dismissed out of hand as not being useful.

Often opinions are offered simply to express the appeal, or the lack thereof, of a work, to stroke the artist's ego, or to stroke the ego of the person providing the comment (I can do better than that.) If, however, your objective is to help the artist improve or, at the very least, to consider your perspective, you need to be able to convey your message effectively.  Anyone can provide a critique, but having your opinions heard, understood, and accepted as valid is more about a constructive approach to communicating those opinions than the actual opinion itself.

The key to getting your comments understood, accepted, and considered is to provide respectful, polite, and even-handed commentary. If your goal is to help the artist improve, you should also provide constructive critique.

Find What Appeals to You

Constructive critique not only identifies the issues the viewer perceives with the work, but also provides suggestions on how to improve the work. Constructive critique is all the better if you can offer some specific technical recommendations to the artist, but even if you're not an expert or even familiar with the artist's medium of choice, you can offer constructive critique of a generalized nature. Your goal shouldn't be to tell the artist how to recreate his or her work according to your standards, but to identify how the work could be made to be more appealing to you. You may not be the artist's intended audience, but you can have a valid opinion about how the work makes you feel and what could be modified to make the artists future work more appealing to you, i.e. how to expand the intended audience. It's up to the artist to consider and then accept or reject your comments, but there are certain approaches that will virtually guarantee your opinion will not even be briefly considered.

There's no faster way to have your commentary rejected, deleted, and any future communications promptly ignored than to approach the artist with anything less that politeness. You may absolutely hate the artist’s work, but if your goal is to get the artist to heed your opinion, you are not going to do it by being mean spirited or disrespectful in your approach. It's said that respect has to be earned, and if you want the artist to respect your thoughts, you have to provide respect as part of the process of delivering your opinion. So drop the snarky or condescending attitude and be polite and gracious with your words. Even if you're an expert in the artist's field, there is no reason to adopt a know-it-all attitude. Obviously your words will carry more weight if you are indeed an expert, but a gracious novice will influence the artist far more than an arrogant expert ever will.

Be Polite and Respectful

Avoid name-dropping. Telling someone that another artist wouldn't do it that way or that so-and-so said to do this won't help you to get anyone to meekly accept your opinion. One goal of art is to be unique, and good artists strive for that. They aspire to have their own style. An appeal to authority generally doesn't work with an artist.

 While it is important to be honest when presenting your opinions, don't confuse honesty with meanness. With some thought, you can truthfully state your perspective without resorting to unkindness. Malice has no place in a constructive critique and will shut down your communication faster than almost anything else. Too many people try to use “honesty” as an excuse for petty cruelty. These people seem to enjoy pointing all the flaws in a piece of work as spitefully as they can. When they get called on it their claim is that they are “simply being honest and the artist can’t take an honest critique.”  Honesty is good. It does neither the artist nor the viewer any good to receive a less than truthful critique. But anyone with at least half a brain knows the difference between honest and just plain mean.

So, what can be done to make your commentary more likely to be considered, accepted, and utilized by the artist? There are a number of approaches that can be used, singly and in various combinations, but you should start by finding something positive to say about the work. Always strive to start with that.   If, after thorough consideration, you can't find at least one positive aspect to the work, then reconsider whether the piece is even worthy of the critique. After all, why should you go to the effort of providing the critique if it’s so awful as to have no redeeming qualities and you simply can’t help the individual improve?

Consider the artist's perspective and the message (if any) that he or she is trying to convey. Tell the artist what you perceive the message to be and how effectively the piece “spoke” to that message. If you feel the message is weak, explain why you think so and offer any suggestions you might have on how to improve the delivery of the concept.

Be Honest, but don't be Mean

Strive to identify both the "good" and the "bad" about the piece. Usually some components of the art will appeal to you while others will not. The better the work, the more elements you’ll find that appeal to you. For example, the composition may be appealing, but the artist's choice of colors may not. The artist may have used fantastic lighting or an excellent brush technique, but the choice of the subject might be not be to your taste. As clearly and concisely as possible, explain what you find appealing and in equal measure explain what you don't like about the piece. For either, but especially for what you don't like, suggest improvements and provide examples (if possible). You may not always be able to offer valid suggestions, but any attempt to do so will be more appreciated than not.

Finally, when summarizing, identify the overall impact and appeal the piece has for you and provide some words of encouragement, even if that means suggesting another avenue of creative expression. Of course, you may not have the time or the inclination to follow all the advice provided in this article, but if nothing else, you should understand that kindness, respect and encouragement will do far more to get your message across than any level of expertise or experience you can claim.