Model Portfolio Shoot Part 2

Welcome back. Last time out I wrote about the first part of a model portfolio shoot with Katie. I'll write today about the second half of the shoot.

It's not unusual to divide a portfolio shoot in two or more parts, doing very different styles in each part. Usually, these all happen on the same day, with a short break in between. In Katie's case, we did part one in the late afternoon and part two in studio the following morning.

I've already taken you through the process of deciding what poses we'd use and the lighting for the shoot. I've also covered choosing outfits, hair and makeup in my previous blog, so there's no need to go through it again.

We decided to base this shoot on promotional images of actresses from the golden era of Hollywood. Mostly from the work of George Hurrell. The shot above is based on a Marlene Dietrich shot.  It took a bit of acting on Katie's part to get the expression but she was well able to do it. Low key portraiture was new to her and she was surprised at how dark the studio was.

Moving about required huge care as there were cables leading from the lights and stands holding the lights and gobos. The centre of the studio was kept clear but we still had to be very careful. In between shots I put on extra lighting but that was only while we discussed the next pose.

I find it a good idea to have the sample shots open on my laptop to show my subject. It makes it much easier for a model to assume a pose or expression when they can see how others have done it.

Some of the shots from this shoot are used else where on the site, so they may not be new to you. It's worth including them here, in any case, so that you can see how well Katie achieved the poses.

I find that the majority of people can achieve even the most complicated pose, as long as they have seen what it is they are trying to get. That is why I send samples in the first place and keep them available to view during the shoot.

While we got less shots from the second part of the shoot, even though it was the same length, it wasn't a problem. These poses and the lighting were more difficult to achieve. Often the light would have to be moved a little to have it fall exactly where I wanted or to prevent it falling where it's not wanted. It would be moved in increments, one light at the time. I would take a shot after each move to see if I got it correct. Having sorted one light, I would then move the other, again in increments. 

Katie had great patience during all of this, having to take a pose several times to just get one finished shot. I think that it was worth it and as she used some of these shots in her portfolio, I think that she did too.

As it happened, the studio shoot took place on one of the hottest days of the year. Sealing out the very bright sunshine was a problem but when achieved, it sealed in the heat and air. We had to take several breaks, to let air into the studio and go out for some fresh air ourselves. Lots of water was needed also.

Just as a point of interest, if you ever wonder what lights were used and their position, look into the eyes of the subject. There you will see the lights reflected out at you. Some photographers edit out one or all but I don't. If you look close you can also make out the modifiers used. Hair and rim lights won't show, as they are behind the subject.

In the last shot you can see that I used two lights. The key (main) light was to Katie's left and the fill light was on her right. There was also a light on her hair but set at it's lowest setting, to just barely illuminate her hair. The purpose of the fill light was to soften the shadows and it was set at half the level of the key light.

So, that's it. Thanks for reading my blog. Until next time, take good care of yourself and those you love. Keep shooting.

​Eddie