Oct
14

Female Model

By Char & Tony Mandarich · Comments (0)

Mod­el­ing Portfolios

Every model needs a port­fo­lio. With­out a good port­fo­lio, it is very dif­fi­cult for a model to get pay­ing jobs. A port­fo­lio con­sists of pic­tures of you in dif­fer­ent set­tings and loca­tions. This show­cases the vari­ety of work for which you are available.

A great port­fo­lio can take some time. Noth­ing hap­pens overnight. You will need to build your port­fo­lio by select­ing your best pho­tos from shoots with sev­eral dif­fer­ent pho­tog­ra­phers. Your port­fo­lio needs to con­sist of a wide vari­ety of pho­tos. A good port­fo­lio should con­tain any­where form 10 to 30 pho­tos. You will need a head shot with no make-up. This will show­case the nat­ural you, and is some­thing the client can look at as a blank can­vas. Also you will need an incred­i­ble body shot in a swim­suit, lin­gerie or form fit­ting cloth­ing to show­case your body. These two pho­tos are prob­a­bly the most impor­tant in your port­fo­lio because every client needs to view these types of pho­tos before com­ing to a decision.

The images in your port­fo­lio also need to show­case a vari­ety of styles. You may want to show ver­sa­til­ity by tak­ing some out­side pho­tos with a bright, com­mer­cial, cute look. Then take a pic­ture inside with a black back­ground with darker make-up giv­ing the more mys­te­ri­ous kind of image. Also hav­ing dif­fer­ent make-up and wardrobe in every pic­ture shows the dif­fer­ent looks you can cre­ate. Cre­at­ing the vari­ety is the key to an incred­i­ble portfolio.

Female Model model portfolio stephanie seymour

Stephanie Seymour’s Model Portfolio

To find the right pho­tog­ra­phers, research on the web and ask around. Once you find one that seems suit­able ask about the kind of work he spe­cial­izes in because you may just want to use one pho­tog­ra­pher for glam­our pho­tog­ra­phy and another for a more com­mer­cial look. In decid­ing upon using the pho­tog­ra­pher don’t for­get to ask basic ques­tions about wardrobe, hair and make-up. Also ask if he/she edits the pho­tos, as this may play a big role in the final out­come of the pic­ture. Always ask to see sev­eral sam­ples of their work.

The pric­ing in a pho­tog­ra­pher should be rea­son­able. The pho­tog­ra­pher shouldn’t be ridicu­lously priced, nei­ther should he be cheap. The more money you spend on a pho­tog­ra­pher usu­ally reas­sures you that you will get what you pay for, but make sure to ask if you will be able to re-shoot with­out charge if you are unhappy with the final images.

Once you have obtained all your pho­tos, you should put them in a model port­fo­lio book. Yes, a print port­fo­lio is still very impor­tant for mod­els, even in this day of web port­fo­lios. Make sure to choose a qual­ity, professional-looking port­fo­lio book, in at least an 8x10 size. It is often advis­able to cre­ate two print port­fo­lios, as often a booker will keep your port­fo­lio for sev­eral days and you don’t want to be with­out one if you get a call from another poten­tial employer. Also, if you do both glam­our and com­mer­cial work, con­sider keep­ing those print port­fo­lios sep­a­rate, as a poten­tial com­mer­cial booker may be put off by sug­ges­tive glam­our images.

Categories : Female photography
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A Model Photo Release Form

Does a pro­fes­sional pho­tog­ra­pher really need a model photo release  form?  How does it pro­tect the model?  Are there times when releases aren’t nec­es­sary?  How do you know?

Pro­fes­sional Pho­tog­ra­phers today are find­ing both legal pro­tec­tion as well as clar­ity with use of model photo release forms.  Such forms state the pur­pose for which a model’s images will be used and where they will be placed.  Her sig­na­ture gives the req­ui­site per­mis­sion to the pho­tog­ra­pher.  Nei­ther party can mis­un­der­stand what is explic­itly stated.  The release becomes a guide­line for how the pho­tog­ra­pher will han­dle the pictures.

A lot of images are uploaded daily to inter­net web sites, and the release becomes espe­cially impor­tant.  Sur­prises are great at Christ­mas and birth­days; they are not great when a model clicks on a web site and sees pic­tures of her­self that she didn’t know would appear.  A generic state­ment in the release that includes all pos­si­ble media and venues elim­i­nates the sur­prise ele­ment.  The model photo release form makes clear the pho­tog­ra­pher is in charge of where the images will be placed.

Model Photo Release sample model release

Mod­els pose for com­mer­cial shots daily.  Their images will appear in printed adver­tise­ments, brochures and posters adver­tis­ing a prod­uct or ser­vice, any prod­uct that will be ulti­mately sold to the pub­lic, and any eCom­merce sites (such as pho­tog­ra­phy), to name a few.  We are not aware of lit­i­ga­tion sur­round­ing per­mis­sion or lack thereof for use of pho­tos.  How­ever, we believe obtain­ing writ­ten per­mis­sion from mod­els to use pho­tographs of them is good insur­ance.  Poten­tial legal has­sles can be avoided fairly eas­ily if a model release form is stan­dard oper­at­ing procedure.

Non-commercial uses of pic­tures of mod­els poses another set of ques­tions.  If we look at photo jour­nal­ism for exam­ple, we see pho­tos being used in arti­cles that are sold for a photographer’s profit.  If pho­tos become a story that is sold to a mag­a­zine or news­pa­per or ezine, is a release nec­es­sary, espe­cially if one or more pho­tos fea­ture a per­son?  The owner of the story is mak­ing a profit from the sale of the article/pictures.  Does the per­son fea­tured have a pro­pri­etary inter­est in the pictures?

We believe a case can be made for being respect­ful and hav­ing con­sid­er­a­tion for oth­ers, espe­cially when their images are being used for the ben­e­fit of another.  This prob­a­bly isn’t a legal mat­ter as much as it is just treat­ing peo­ple with respect, whether it’s a pro­fes­sional model or a passerby on the street that you catch at just the right time for a spec­tac­u­lar photo.

Secur­ing per­mis­sion is wise even when you pho­to­graph strangers.  Most pro­fes­sional pho­tog­ra­phers keep dig­i­tal files of their work for use in the unknown future.  Such use may include com­mer­cial projects that weren’t defined at the time the shot was taken.  File shots that may be per­fect for com­mer­cial use later will need release forms; oth­er­wise, their com­mer­cial value is nil.  Obtain­ing that per­mis­sion at the time the photo is taken allows for lim­it­less pos­si­bil­i­ties in the future.

Categories : Female photography
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A Model & Her ZED Card

Just like every model needs his or her print port­fo­lio, every model needs a com­pos­ite card. They are essen­tial in acquir­ing jobs and clients.

Com­pos­ite cards are also referred to as zed cards. Mod­els, and often actors, who want to mar­ket them­selves use these cards. These cards come in dif­fer­ent shapes and sizes, so a model or actor is able to cus­tomize his or her card using their own cre­ativ­ity. A stan­dard card ranges from postcard-sized up to full 8x10. Con­sider keep­ing your comp card between post­card and 5x7 size; any­thing smaller or larger may be dis­carded by an agent sim­ply because it doesn’t fit well into their pile!


Female Models & ZED Cards zed card

Zed Card is also known as a Comp Card


There are sev­eral ways a model can go about design­ing their comp card. If you have an agent, they will almost cer­tainly have a pre-made tem­plate design for your comp card that they will help you put together. There are also soft­ware pro­grams avail­able for cre­at­ing com­pos­ite cards, and if you’re not a do-it-yourself kind of per­son, you can work together with a pho­tog­ra­pher to put together your com­pos­ite card. There are also pro­fes­sional design ser­vices avail­able online, where all you need to do is upload your images and they will take care of the design and printing.

Your com­pos­ite card in a way can serve as your busi­ness card or port­fo­lio as well. You want to design your com­pos­ite card like your port­fo­lio; you want the best pic­tures you have to be on your com­pos­ite card. Design your comp card in a way that will reflect what you do best, but also show­case a vari­ety of dif­fer­ent pic­tures, imply­ing that you can adapt to any kind of work. A typ­i­cal card has a large head shot on the front and a vari­ety of smaller images on the back. Also on the front of the com­pos­ite card are listed basic sta­tis­tics like height, weight and mea­sure­ments. These stats are very impor­tant so make sure you put them on your card.

When vis­it­ing your agent, or any other agency, it’s impor­tant to look the part of a seri­ous pro­fes­sional model. Hav­ing an updated, com­plete, pro­fes­sional comp card is an impor­tant aspect of ‘look­ing the part’. Make sure not to over­look any of these small aspects of being a pro; it could make the dif­fer­ence in get­ting the job!

Categories : Female photography
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glam­our models

The com­fort zone for mod­els is no dif­fer­ent from any other pro­fes­sion. Com­fort zone is the imag­i­nary bound­ary that peo­ple cre­ate for them­selves within which they believe they have to func­tion. It’s a defense mech­a­nism that keeps us from becom­ing anx­ious. A model’s com­fort zone is prob­a­bly more expan­sive because of the exhib­i­tive nature of her work. Being com­fort­able expos­ing her body to a vari­ety of peo­ple has to lie within her com­fort zone. The aver­age woman does not pose in scant­ily clad lin­gerie and get paid for it. That’s out­side her com­fort zone.

Mod­els remain in their com­fort zones for the same rea­son the rest of us do. We man­age our anx­i­ety by stay­ing with the famil­iar and com­fort­able. We feel secure doing the same thing over and over. Unless we are chal­lenged, we don’t have any rea­son to change. Most mod­els cre­ate com­fort zones in cloth­ing, facial expres­sions, body lan­guage and appeal­ing look (how­ever they might define that). Anx­i­ety about the new and dif­fer­ent is too dif­fi­cult to face, so they behave in the same ways con­sis­tently to avoid hav­ing to feel anx­ious. They con­vince them­selves inter­nally that they ‘can­not han­dle’ doing some­thing unusual or different.

Female Models Comfort Zones female model

Female Model Jessie

We also avoid chang­ing behav­ior because we’re con­cerned about what some­one else will think. Com­fort zones become per­sonal pris­ons because we’re con­cerned about accep­tance from oth­ers. Mod­els must be con­cerned about response from those view­ing their pic­tures; it’s their liveli­hood. If a model does some­thing new and dif­fer­ent for a photo shoot, what is going to be the response? We are all con­di­tioned to believe we can­not live with­out approval from oth­ers. If a model has been doing some­thing for months or years that works for her, why should she change? Most mod­els stay within their defined com­fort zones so they do not have to risk los­ing approval and poten­tially their livelihood.

Com­pla­cency is the real risk for a model deal­ing with her com­fort zone. She feels secure within her imag­i­nary bound­aries. She can become lazy with­out know­ing it. She’s com­fort­able there; why should she go some place where she is uncom­fort­able? In the extreme, she can become apa­thetic and the result­ing pho­tos show her inertia.

How can a model take a look at her com­fort zone and decide to step out? Highly suc­cess­ful peo­ple step out of their com­fort zones with reg­u­lar­ity. They iden­tify a goal they want to achieve and that path requires new and dif­fer­ent behav­ior pat­terns to reach the goal. A ques­tion she might ask her­self in con­fronting her ini­tial rise in anx­i­ety is, What is the worst thing that can hap­pen? Talk­ing over pos­si­ble answers to that ques­tion with her friends could prove help­ful. She might more eas­ily man­age the risk if she knows what could poten­tially result from the change she is con­sid­er­ing. She might also dis­cover the beliefs sup­port­ing her cur­rent com­fort zone are unfounded. For exam­ple, she might dis­cover her liveli­hood is not really threatened.

The more enter­tain­ing ques­tion to con­sider is, What is the best case sce­nario? This issue is eas­ier to con­sider, and again, her friends might be help­ful with pos­si­ble responses. The entice­ment of some­thing good or even really great could be just the impe­tus needed to make the change.

Although the com­fort zone is an imag­i­nary set of bound­aries, the accom­pa­ny­ing anx­i­ety try­ing to step out­side the box is very real. Don’t take huge leaps in your attempts to redi­rect your career; one or two steps at a time is a bet­ter plan. Check out how new behav­iors feel, and then ask your­self if your com­fort zone can begin to be rede­fined to include some­thing you never con­sid­ered pos­si­ble in your life.

Categories : Female photography
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Female Model Height Requirements

The fash­ion branch of mod­el­ing is bru­tal. Fash­ion requires being toothpick-thin and Michael Jor­dan tall. In many cases, that cre­ates a lot of pres­sure on a model, which leads to prob­lems like depres­sion and eat­ing dis­or­ders. If you’re not six feet tall and don’t want to be con­sumed by the prob­lems of the fash­ion indus­try, there are still many other options avail­able if you want to be a model.

Another venue for some­one inter­ested in the ‘beauty’ angle of mod­el­ing is the Glam­our indus­try. Glam­our Mod­el­ing is geared toward the ‘pin-up girl’ type of model. It mostly con­sists of some top­less, implied nudity, or lin­gerie. These types of photo shoots are not always mar­keted by agen­cies. One may need to attempt to find a good Glam­our Pho­tog­ra­pher and job on their own by research­ing for jobs on the World Wide Web or by net­work­ing with mod­els already estab­lished in the industry.

Female Model Height tall female model tyra banks

Tall Female Model Tyra Banks

There is also the world of com­mer­cial pho­tog­ra­phy, which has a wide vari­ety of options avail­able for mod­els. There are jobs you can audi­tion for, like com­mer­cials on TV that pay a hand­some amount of money. Then there are bill­board and mag­a­zine ads that can be for a vari­ety of prod­ucts, rang­ing from hair sham­poo ads to travel ads to depart­ment store ads. Com­mer­cial mod­els require­ments are not nearly as demand­ing as of those of fash­ion. You need to look the part of the role you por­tray in your photo shoot. A com­mer­cial model also needs a com­pos­ite card. A com­pos­ite card is a card that has a range of pho­tos that look sim­plis­tic and nat­ural. Work in this field will usu­ally be con­sis­tently avail­able, con­sid­er­ing the fact that the sea­sons are always chang­ing and that new prod­ucts are always emerging.

Another type of mod­el­ing to be taken into con­sid­er­a­tion is fit­ness mod­el­ing. Fit­ness mod­el­ing con­sists of hav­ing a buff body along with a pretty face. This branch of mod­el­ing is a great oppor­tu­nity for male mod­els. The pay is darn good too! The type of jobs that this indus­try has to offer can range any­where from energy drink ads and pro­tein bar ads to cov­ers of mag­a­zines. Just like in any other branch of the mod­el­ing indus­try, you need a good agent that will help you to find jobs that pay well and are in your area of exper­tise. You can most likely find a good agent at a fit­ness con­ven­tion. These con­ven­tions offer a lot to help you boost your fitness-modeling career.

Mod­el­ing isn’t all about the face and fig­ure, either. There are oppor­tu­ni­ties to show­case your best assets. Maybe you have incred­i­ble hands or stun­ning legs. A lot of mag­a­zines need hand mod­els, so tak­ing a few pic­tures of your best asset and send­ing them to an agency or some­one look­ing for what you have to offer may result in high pay­ing mod­el­ing jobs.

To be a suc­cess­ful model you don’t have to be six feet tall and as thin as a tooth­pick. There are many branches of the mod­el­ing indus­try that allow you to model by show­cas­ing your unique talents.

Categories : Female photography
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