Working with Models

 

Working with Models

 

Lesson Info

Booking Terms

Terms for booking models first hold second hole third hole confirmed all these things that you you need to know if you are comes in on casting and I really like her I'm a call and put her on hold what that means is I'm now calling her agency toe hold her time so I won't call her I want to book her on the thirty first of the month and they're like ok you have a first hold so then tomorrow she goes on another casting a new client locator and they call you want what you want for the thirty first that client now gets a second hold same thing happens the third issue so third casting like a little bit on hold they get a third a third hole so now three clients are holding her for that same day so now the modeling agency booker is one of try to find out who was confirmed her first for the most money and that's how it works first hold second hole third hold who will confirm her so say the person called the second day we have the second hole wants to confirm and you have the first hold on her an...

d you're not ready to confirm you can lose her that's the business first hold second hold confirm you only use the work and firm once you know everything is good to go because when she was that were confirm you are obligated to pay that model so in your example second hold wants to confirm with the first hole they don't have an option they lose out like some the second confirming first on that model will think a second hold is rage confirm the person has the first hole is not they can first with the first hole can lose that model to get a phone call to the first hole before you think up the option you're there the options they want to find out who's living in a book and confirm this model first so you only use the word confirm and this is this is not just for the models this is for the entire crew including us photographer your client once they confirm you had the job they had you just on hold and people wait confirming to the last minute because of this whole thing with confirmed or on hold let me tend to for a long time until they confirm you the job stock one hundred percent once they confirm you then you call and confirm everybody else hair, makeup, salis manicurists, masseuse whomever you confirm everybody else wants the job is confirmed and not before if they call you and say, oh yeah it's ninety nine percent know that we're shooting on friday and it's wednesday until they use the word confirm you don't confirm and that's all verbal there's nothing written, written you will get you will get once it's confirmed you things written for sure, but there were confirm happens to do on the phone. I had a job this year and I had my agent in l a calling like, oh, wait, I have this job I'm sure of it is confirmed, my did they confirm just then confirmed yet, but they said it's ninety percent, I'm like, I'm not crying any models is like twelve miles like I'm looking for me any models until they confirm that happens a time it's a lot, sometimes, like he said, I'll be a hold for two jobs during a certain two or three day period, and it will not happen. Both of them are one will confirm, and then the I mean, it's it's got to be clear when they say confirmed, I know I got the job I'm expected and also let's say, I'm confirmed her job and it comes up as a model and this is no disrespect, any artistic project or let's say I set up the test with you, I have to take that confirmed paid job over an artistic tests for that weekend that everybody involved hair, makeup, stalin, everybody, hopefully in my professionalism, I would let you know as soon as I find out. That day within that hour, whatever I would call you let's say I had a beauty artistic day set up that same weekend with matthew I'm going to call him right away saying, matthew, I had this amazing opportunity I still want to work with you, but I've got to take this commercial he is an artist already understands that I need to make a living as a photographer everyone should understand if you get booked for jobs confirm you say go ahead thanks would do the testing of the day yeah and as a model I don't want to hear oh, but you no way at all these people lined up and it was for a free trade agreement it's I mean, I'm sorry I have to pay my light bill and I have to pay my car, I will work with you, I just can't do it that weekend, so this is business about building relationships and doing your careers together so everyone should understand that if you get booked for job that takes prisons over everything else that's for the hair person make a person salis morrow, even you as photographer same thing everyone understands that so don't get upset if that happens it's part of the job comes with the territory and also knowing about looking models, so before you get an agent we talked about this also you learn to do all this yourself and this is a lot of work kind of book twelve model their job without an agent is a lot of work and it will drive you crazy but you need to learn how to do this and do all those agents cause twelve girls could be from eight different agencies it's a lot of work but you need to learn how to do this how to manage it how to run how to direct the whole shoot how to produce the shoot because then you're calling and you're putting not only all these twelve models on hold but the hair the makeup the salis the studio the the assistance the entire crew you are now putting together and putting all the schedules together it's a lot of work you get bigger as a photographer you can hire people to do this stuff for you but you need to learn how to do it yourself first so you know the business inside and out then get an agent or producer to do the bigger jobs for you but you need to know how this works and the model rates plus twenty percent if you miss upon this class like holding I thought the rate was fifteen hundred fifteen hundred plus twenty percent bill you could lose that client over something small like that this twelve models and adds up emerging calls back up models their jobs with things happen I had a job for big model is years ago and this is not the model but it was a job with we're shooting a big model is this is a lot that one into the job and we get to the job and we find out the model had fallen off a horse and broken her leg and it was a is a really big job so way got tyra as a replacement before she was really big but I was a replacement for this job remember this job so well the most self the horse was nailed me we found out later on that should you fall off a horse and I think this is the story all together but way won't get into that learning to direct models I didn't want you to get your input on this part of what it's like to beyond a shoot in half a target's giving you directions how much do you want to get was it feel like to be on the other side of the camera on the shoot you are the director on the shoot you are director and all the the testing at beginning of your career is teaching you how to be a director it's not so small where you're directing the model and beginning of her career you deal with one booker then it grows we do with twenty people and fifty people once it and scheduling things so this is testing the mauling agency is great practice to lead you to a big career but that's the very beginning on teaching you how to come a director not just photographer but director and that's great because like what you're saying if I'm coming in to shoot experienced I want the photographer who's been hired that day or whatever to tell the makeup artist how much how much time they have with the I don't need to be answering making because I don't know how much how long you get for makeup and how long you get for hair and am I going to be doing both at the same time or is the hair stylist doing just my hair first and then I have to jump into the makeup chair how much time it might given for that how much time am I given to change my clothes I should not be answering the stylists questions I should not be answering their makeup questions that through something that hopefully there's a call sheet or us the photographer conveying because again coming in is the model I'm worried about doing what I have to do you know to get a job and get the images that you need out of me I don't want to be telling people what to do because then that might read wrong for me oh we heard from you wanna she said we had wait a minute now you want us running my show it's like okay no it's, just something that needs to be communicated and direction is awesome on way. You know, if you get to watch the video that we did yesterday, we had the models come in and matthew played for personalities and I have worked with every kind of photographer I'm not dissing any personalities. I love eccentric people. I love artistic people. I love that some models don't know what to do with that. So he played these four personalities and we got the girls and he shifted a personality for each of the girls. And let me tell you, they were scared to death. Ok on dh it's important for you to communicate with the model, maybe telling her she's beautiful, even if you as a male might not find her to physically be beautiful, but you hired her. The client hired her, maybe she's, not your cup t you said that can you go over this again? Because it's so important like there's this saying data montes, I love this quote, you might be the right this juiciest peach in the world and there's someone who doesn't like peaches so let's say, a client I'm coming in, I don't know who likes me that day or who was the one who really pushed me to get this job let's, say it's, the photographer you're not attracted to me physically you don't think you whatever you think I'm too fair skinned or you think I'm teo glamour looking and not edgy enough, I get a lot of young photographers who wish they're doing something artistic and the and I just want to make sure that coming on that you want me there, okay? I want to get this presence that you know, I don't need you to tell me that amazing I'm incredible but just like great, I'm glad you're here happy to have you you look great or whatever because that's going to make my job a lot easier also don't objectify the model so many young guys say on my body better awesome asked or you know your breasts are firm whatever like coming it's kind of like you want to be complimented but there's a fine line of objectifying the girl or the worst thing you can do because let's face it in fashion there's a lot of insecurities with these models about the weight the worst thing you can dio as a model or models we know when we're at our best, okay, we know when we've been working out and we know when we've been kind of, you know, hitting the starbucks dessert section a little more than we should our agents are going to tell us ok, they're going to say we need your story believe me for that and you start doing some more ab work whatever the blood as a as a model coming on, it takes a lot of courage. I mean, everyone must think that they are getting paid amazing amounts of money. Maybe they're not getting paid a lot that day. Whatever don't go to the corner and say, oh, I thought she was gonna be prettier in person or oh, my god happens she looks she looks like she's getting a little this r k I think she doesn't look so great on her calm card. Oh god, you know already I'm feeling like a shrinking violet in the corner. Thank god I haven't really had any experiences that have been hard core, but I have heard things before, like, oh, um, you know, that sense of just just make the girl feel welcomed more comfortable she is with you the better images, the more relaxed her look will be more you'll get out of her and I want to talk about that even more because now that we are in a digital world was shooting digital very often model is on set and wear shooting, so we're shooting the model the models here that off to the side there's a minor where all the bizarre so everyone could be around the mountain looking at the pictures and the expressions are reading like this because they're like looking the hairstyles is looking at the hair make mars was looking at the hair the client is looking at the garment and their expressions might read something totally different than looking at all these different things wearing having to make your hair or make it better but what she's reading is like, do they like me? Do I look weird? So I'm always very cognizant of that and for that reason I try to keep the mantra away from the model looking at it because she's thinking about oh do I look okay? And I'm thinking about all these great pictures there's not like it was the hair okay it's just like she is now to make up the class like oh that dress all those shoes yeah, but she's just getting am I ok? Some always reassuring her oh, you look great fantastic, so we're just trying to figure out the styles not working we might change you that is going already bring my comfort level like, ok it's the skirt on dh then I'm ready to know that I need to probably jump off the set right away and get into another outfit I'm not texting, I'm not you know, as a model, I learned some amazing advice when I'm working with photographer I've belonged to them for that for that day, I'm not going off to the corner and texting or complaining. Oh, I've got, you know, like we said got to get out of here, whatever it should be important to is a photographer if you see a girl is kind of losing her edge or her energy tell me, hey, go, go grab an espresso come right back or whatever you have to read the situation as director, you have to read the situation in the room all the time. If you're shooting her non stop and you're feeling her, did you get down? Especially tricky for beauty work? If you're doing this with me for an hour and a half, two hours she's one of more now I'm china read and be happy with my eyes make me happy do you need a piece of chocolate? Do you need a bottle of water? And he does that? Oh my gosh, so it's great if I'm working with someone for ten hours happened so many times where they don't even ask the model, can we get you? Would you need a break just for, like three minutes? Get something to drink? Because then you've got the makeup artist oh, no, don't drink anything where I don't don't ruin your lip don't touch your hair, I don't sit down on that dress you know, you need to communicate to the model. We have to return these clothes, be careful or hang hang up the clothes, especially if you're testing with the girls. Models need to, especially new girls. You have to train that to respect stylist, to respect the hair stylist, to respect the makeup artist and to know when the right time is to get that drink or to grab her phone. Ok, you give you guys. He did answer any messages, do it now, but again, communiqu, communicating to them very, very, very important guys.

Class Description

Want to learn how to find models, how to build your portfolio, and about the business of fashion photography? Fashion photographer Matthew Jordan Smith returns to the creativeLIVE studios for a 3-day workshop teaching photographers how to work with models! Matthew and fashion model Yoanna House from America's Next Top Model will take you through the model-photographer relationship from both sides, showing what sort of direction is helpful and what is confusing, how to cast for a photoshoot, and what you should look for in a model. Matthew will share his insights on how you get the look you need from a model and how to build relationships with models to get the best possible results. Models: want to learn how to be a successful model? Check out the related Modeling 101 workshop with Yoanna House!