Comparing the Lensbaby Lens Effects

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If you've ever wondered what effect a specific Lensbaby lens has or if you've ever wondered how that compares to other lensbaby lenses or even standard lenses then this article is for you.

I took the same image of a model using a wide variety of Lensbaby lenses as well as standard prime lenses and compared the results. All images were taken with flash with an ISO 100 at 1/125 second and all at f4. You should notice that the model stays a similar size in the frame when using a variety of focal length lenses, that was to create 'real-life' look to the test. I have taken the images as I would do normally regardless of focal length and they all appear here completely un-cropped.

Standard 50mm Lens

This is your standard 50mm lens and probably the most common prime lens you'll use. You should be very familiar with how this image will look but it's good to have this shot as a baseline to compare the subsequent Lensbaby lenses against.

Standard 85mm Lens

Again, you should be fairly familiar with how the images should look taken with this lens. The only significant point to make is how the background looks compared to the standard 50mm and other 50mm lenses. You can quite clearly see that the background is far softer as a result of the extended focal length at a similar aperture to the 50mm.

Sweet 50

This is probably the most well known Lensbaby and just to be clear, the Sweet 50 is an optic that is situated in the Composer Pro cradle. What that means is that the ball-joint and focusing part of the lens called the Composer Pro can hold other Lensbaby optics like the Edge 80 for example. The Sweet 50 creates a radial type blur that emanates from a user defined epicentre. The user can dictate where the in-focus area is and then the lens blurs the image the further you get from that. I use this technique a lot in portraits as I can get the subjects face in focus and then blur the surrounding shot to create a sense of depth and movement. It's also worth pointing out that the aperture also affects the blur. At f16 for example the blur is very subtle and at f2.8, the blur is very strong. For more examples of the image this lens takes, take a look at one of my previous photographic projects 'The Moving Portrait'

Edge 80

The Edge 80 optic, like the Sweet 50, sits in the Composer Pro cradle and that controls focus and tilt. The Edge 80 is an incredibly powerful lens that has the ability to creates very clean slices of focus at any angle in your image. This effect is often seen in those 'toy-town' photos where a drastic illusion of forced depth of field gives a false impression of scale. The slice of focus can be placed in any way the user wants, from vertically to horizontally and everything else in between. I have used this lens to create a sense of an incredibly narrow depth of field in portraits and you can see some more of those results here in the close head shots from this shoot 'Lucid Dreams'

Twist 60

This is one of the few Lensbaby lenses that creates an effect that can't be heavily influenced by the user. The Twist 60 creates a swirling pattern towards the edge of the frame leaving a cleaner, more untouched centre. This lens is a little trickier to use in a studio as composing your shot with a sharp subject requires you to place them in the centre of the frame. In the image you see here, you should notice that the subjects eyes are a little soft because the effect can't be kept off them. I took another image where the subjects face was in the centre of the frame and the eyes were pin sharp so a little care and thought is needed when composing your images with the Twist 60. The effect this lens creates can be increased with shallower f numbers like f2.8 and reduced with higher apertures like f16. A full review of this lens can be found here 'Twist 60 Review'

Velvet 56

Lensbaby have released two Velvet lenses, a 56mm and a 85mm. This version is one of the first lenses that Lensbaby released that produced a more subtle effect. Their previous lenses have been very popular for their very defining results whereas the Velvet lenses explore a more refined effect. They have been called art lenses that create an almost 'vintage' lens effect. Although this is a quick and easy way of explaining what they do, it falls a little short as there is a lot going on in the making of the resulting image. The best way that I can explain is that there's almost a sharp image nestled underneath a soft and creamy image. The effect is more dramatic towards the edge of the frame and can also be increased further by opening up the aperture to f2.8 and beyond. For a more comprehensive look at the lens, take a look at my review 'Velvet 56 Lens Review'

Velvet 85

Like the Velvet 56, this is another of the Lensbaby lenses that creates a more subtle effect. The 85mm is almost identical at the 56 apart from the obvious focal length difference. If you're a portrait shooter you may prefer this longer focal length over the 56 but it's also worth pointing out that the Velvet effect seems to be stronger on this lens compared to the 56. The reason of this is simple; like other 85mm lenses, the depth of field blur is more pronounced on longer focal length lenses and the same is true here. Like other Lensbaby lenses, the signature lens effect is often more pronounced with wider apertures so when shooting the same shot at 56mm at f4 and 85mm at f4 the lens appears to create a stronger effect. Take a look and compare the backgrounds in the two Velvet lens shots and make your own decisions. If you'd like to know more about the Velvet 85 then check out my complete review here 'Velvet 85 Lens Review'

Simple cheat-sheet to save for reference - Click to enlarge — *Simple cheat-sheet to save for reference - Click to enlarge*

For more information on these lenses, take a look at the Lensbaby website for the full descriptions and specifications via the links below.

I also have a discount code for anybody who is interested in picking up any of the Lensbaby lenses here in the U.K. via WEX Photographic

I have worked very closely with the fine people over at Lensbaby for many years and they have very kindly allowed me to share my discount code with you. If you decide to use my code to get some money off your purchases then I will also receive a few pennies for the beer fund so please feel free to use it if you'd like to :)

Use the code JAKEHICKS10 at checkout to get 10% off any Lensbaby lens at WEX Photographic.

As always, if you have any questions about any of these lenses then fire away in the comments below. But if you own any of these lenses already, I'd love to hear what you think of them. Do you have a favourite lens? Are you considering getting an additional one? Feel free to link me to your Lensbaby shots too as I'd love to see how you guys use them :)

:WARNING: Yet more tempting products lie in wait below!

If you're interested in any of my work and would like to know more about how I created some of my shots then why not check out my workshops. Here you can find out everything there is to know about Gelled Lighting, Long Exposure Flash Photography and my entire Post-Pro Workflow. Jake Hicks Photography - Workshops

I've also just released a brand new 22 hour complete Gelled Lighting Tutorial video. I go over everything from studio lighting setups with gels to being on location with gels plus I also go through my complete retouching and post pro workflow. For more details and complete breakdown of everything that's include check out my Coloured Gel Portraits Tutorial

I also offer comprehensive coloured gel packs. These collections of gels are what I use day to day to create some of the most highly saturated colours around. If you're looking at getting into gelled lighting or need to get stronger and richer colours in your coloured gel work why not check out my Jake Hicks Photography Gel Packs

Studio Polyboards & DIY Alternatives

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Studio Polyboards & DIY Alternatives

Nearly every professional studio I’ve ever used has these ‘polyboards’ and you‘ve probably even seen them yourself but may not have known what they’re used for. Polyboards are polystyrene boards that usually measure 4 feet wide by 8 feet high and are normally 2 inches thick. One of the other defining characteristics is that they are often white on one side and black on the other. This dual colour is very important as this gives them two key uses. The white side is used for bouncing light back into the shadows of an image, for example a light would be placed on one side of the model and a white polyboard on the other side of them. The light would illuminate one side and the polyboard would fill in the shadows from the other side providing a very beautifying light. The black side is used for the opposite reason, to reduce the bounce of light. In certain situations in a big white studio, your lighting can bounce around and result in the lighting on the model looking quite flat and uninteresting. By placing black polybords either side of your subject can help sculpt shape and form by adding shadows where there was none before.

Using polyboards, whether that be in a studio or on location, can be a great way to control your lighting. Here I'm using the black sides of the polyboards to create shadow on the side of the models face when using a softer light source.

For your reference, 'polyboards' can be purchased under the name of polystyrene sheets from DIY stores under the insulation section. An 8 foot by 4 foot board is 2400mm by 1200mm. You also want to watch out for the thickness. We'll be using them for a purpose that they aren't intended for so you need to purchase a thickness that is substantial enough to hold it's own weight when upright. I recommend a 2 inch thick sheet and that translates to 50mm. Here's a link to a £15.99 sheet in U.K. store called Wickes 50mm General Purpose Polystyrene 1200 x 2400mm

In the U.S. you'll probably find a very similar product in your hardware stores and again under the term insulation rather than simply polystyrene.

Polyboards are primarily used in the construction industry for insulation, as a result they’re relatively cheap to buy. When you buy them, they normally arrive bright white on both sides so the first step is to paint one side black. But the biggest issue with them is not painting them but getting them to stand up. Normally this is quite costly as purpose built metal stands need to be purchased. But here’s a far cheaper hack that works perfectly, a simple bike stand. In the above image you’ll see a single bike stand that holds your polyboards upright perfectly and very cheaply. Just make sure it’s at least 2 inches wide and you’re all set.

Here's a link to the bike stand I'm referring to on Amazon. This one has a confirmed tyre width of 53mm which is perfect to hold your 2 inch polyboards and for less than £15 Silver Bike Stand

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But what if you want the benefits of a polyboard but you’re on the move and working on location? Obviously brining a 8 foot by 4 foot sheet of polystyrene is hardly very practical so here’s a mobile alternative. Simply use a large white reflector and attach it to a lightstand via a couple of multi-purpose clamps and brackets. No matter how big or small the job, I always carry around these handy clamps and they come in especially handy here. Simply take your lightstand, put an umbrella bracket at a right angles on top and then attach a spring loaded clamp onto that. This will now hold your reflector firmly in place.

The light stand you'll probably already have but here's some links to the other clamps and brackets.

Large White 5 in 1 Reflector (200x150)

Umbrella Bracket

Manfrotto Spring Clamp

When things get really desperate and you don’t even have a large reflector with you, then a simple white sheet can be utilised to just as good effect. Any white sheet will do and by simply screwing a small crab-clamp atop your lightstand and then getting that in turn to hold a crossbar (any pole or even broom-handle will do), you can then simply clip your sheet to that and you’re ready to shoot.

The white sheet can be anything from a large sheet of white cotton fabric to a simple bed sheet. The clamps and crossbars links can be found below.

I actually own a couple of these heavy duty crossbars by Manfrotto but any pole or even stick will do the same job in this instance.

Manfrotto Telescopic Crossbar

Crab-Clamps

Get your stand to hold black velvet rather than a white sheet when needed.

Pro Tip: Remember that these mobile 'polyboard' alternatives can be implemented with the black variations. Most reflectors now come with a black flip-side and that can be clipped in place instead of the white side. Also, if you're after a black alternative to the white sheet, I recommend black cotton velvet. This fabric soaks up more light than anything else and I will often use this fabric in a studio environment over the black polyboards as it's so good at reducing bounced light.

You can see me using the black velvet sheets on stands here in a studio to heavily control the bounce of light. In large white spaces like studios, the light will keep bouncing around the walls, floor and ceiling which can leave your lighting lookin… — You can see me using the black velvet sheets on stands here in a studio to heavily control the bounce of light. In large white spaces like studios, the light will keep bouncing around the walls, floor and ceiling which can leave your lighting looking flat. You should be able to see here on the final image that there is very soft beautiful light on the models face but there are still strong shadows on the sides of her face to give depth and shape.

*Click to enlarge this single cheat-sheet of studio polyboards and DIY alternatives*

If you guys have any questions then fire away below. If you also have anything to add as your own way of dealing with polyboards or DIY polyboards on the move then I'd definitely love to hear them :)

Editors Note: Just to be clear, I am NOT sponsored by Manfrotto nor do I receive kick-backs from Amazon. I've received messages saying that I shouldn't share links that I make money from without stating it. I wish I did make money from links, but I don't. I have no problem with photographers who are making money from links but believe it or not, I provide links to HELP the readers (shock horror I know) and they're provided here simply for your convenience. By all means if you still feel that I may be making a few pennies on the side from these links for this entirely free article, please feel free to use Google (or your preferred unsponsored) search engine instead of clicking on them :D Have a great day.

:WARNING: The JHP sales links below are most definitely sponsored by JHP :D

5 Classic Portrait Lighting Mistakes You Might be Making

In this article I am going to highlight 5 key things that I see portrait photographers doing that I consider to be 'in need of improvement' and although there are no hard-and-fast rules to photography, try to think of it as being similar to an instrument being slightly out of tune or a meal that's perhaps a little too salty. These are glaringly obvious errors to the well informed but may not be so obvious to those who are just starting out.

I'll also just say that photography is a subjective field and just like any other art form there is going to be people who agree and disagree with what I class as 'mistakes'. History lecturers for example, will teach us that the Berlin wall fell in 1989, mathematicians will tell us that 2 + 2 = 4. These are what we refer to as facts but in our world of the arts we aren't quite so strictly governed and it isn't quite as simple.

There will certainly be occasions to bend these 'rules' for artistic reasons but if you want to attach commercial merit to what I'll be discussing here then it's worth pointing out that I was responsible for training all of the new portrait photographers in a large studio for many years. It's factors like the ones I'll outline below that when addressed in the newer photographers saw significant increases in that photographers client average spend per shoot. So take from this article what you will, but if you avoid these issues in your client work, and your clients aren't photographers themselves, it's practically guaranteed to improve your sales.

1. Catchlights

Catchlights should appear at 10 o'clock , 11, 12, 1 and 2. If they appear any lower at 9 and 3 o'clock then we start to get under-lighting which is another big lighting mistake.

The first one is nice and simple to avoid once you know what you're looking for and thankfully it's super easy to know when you've done it or not. It is of course catchlights in the subjects eyes. Catchlights are the spectral highlights in eyes created by the direct reflection of the key-light. Having these highlights present means that you're giving the eyes shape and without them eyes can often look dead and lifeless. In fact to further cement my point I've seen filmmakers simply digitally remove catchlights to signify the death of a character on screen. Catchlights are certainly powerful signifiers of life so correctly positioning the key light just above the models head and slightly in front will ensure the face is lit properly and that the eyes are receiving light to give them that tell-tale sparkle.

The eyes in this shot look very dark and dead without any significant light entering them. As a result, no catchlight is present.

In contrast, this shot has strong, visible catchlights and the subject looks a lot more approachable and less menacing.

There are many ways that the light can be placed to avoid catchlights but usually it's too high or the subject is looking down.

By lowering the height of the light so it's just above the camera you can get a lot of light to enter the subjects eyes and thereby strong catchlights as a result.

2. Under-lighting

Under-lighting is simply lighting that is coming from below the subject in relation to the camera. Think of those 1960 horror movies that needed to make monsters and creatures more scary, they'd simply light them from below. The reason this looks so bad is because we're used to seeing one another when we're lit from above. We go outside and the sun is lighting us from above, when we're indoors the lights are lighting us from above. In fact this is so present in our visual recognition of the world that lighting faces from anywhere apart from above simply tells our brains that something is wrong. So although this should be painfully obvious to us and very few of us would make the mistake of lighting a subject solely from below, I still see the same effect happening when photographers decide to introduce fill lights.

The under-lighting effect happens when the fill-light is actually casting more light on the subjects face than the key-light. I see this done all the time and often by apparent professionals. In fact not to long ago a corporate head of one of the worlds leading camera manufacturers released a head-shot with horrendous under-lighting so it's not just enthusiasts that fall foul to this one.

Thankfully it's easy to fix, simply turn down your fill-light. Yup that's it, simply turn the power down, in fact take some test shots at varying powers of fill-light if you're not sure and then choose the favoured image and corresponding power to be extra safe. It's very easy to see which you prefer when images are side-by-side in this way so it's definitely worth doing.

In this image we have no fill-light. It's not a bad thing and no fill-light is far better than too much fill-light.

In this image, I've added a fill-light below the subject. When these images are side by side like this, it should be painfully obvious how bad this looks but it's easily done if you're not carful.

In this last image, I've turned the fill-light down a lot. In fact, had you not seen the original shot with no fill-light, you might not have realised I'd used an additional light at all. This is the look you're aiming for.

*A simple small softbox below the model is all that's needed to add a little fill-light.*

PRO TIP: If you're photographing a series of people like a group of corporate head shots for example, PAY ATTENTION to eachindividual you photograph. If you're photographing a 6' 5" inch man and then a 5' 3" inch lady afterwards adjust and move your key and fill lights accordingly. Failing to do so will mean that the young lady is going to be a lot closer to the fill-light than the key-light. And guess what?! You'll have created under-lighting by simply not changing a single thing.

3. Subject to Background Separation

This one could be argued as a little more based on preference and I've seen it done well for effect in both instances, but as a rule though if you're starting out with lighting try to avoid it. This lighting technique is about showing shape and form with shadow or the absence of light. If you're photographing a subject with only a single light for example and they're positioned too far away from the background then that background will drop off into pure darkness just like the shadow side of your subject does. What happens now is that visually, the background and the shadow side of your subject is indiscernible from one another resulting in the viewers eye not being able to tell where the subject ends and the background begins. More often than not this leads to the subject appearing far larger in the shot than they might like. This is one of those lighting techniques where you're not necessarily doing anything wrong but you could definitely be doing something better.

If you only have a single light then move your subject and setup closer to the background and allow your light to spill over onto the surroundings so that it now appears lit in the shot behind the model. This is a very simple technique and obvious once it's been pointed out but incredibly effective at dramatically changing how a shot and your subject can look especially if you only have a single light to work with.

There's nothing technically wrong with the lighting above but you can see that it's almost impossible to tell where the model ends and where the background begins. This is not very flattering.

This image, has a lot more going on visually and is a lot more flattering for the subject because we can now see the background to provide some context.

Here's the lighting setup for the far darker above setup. The single light and model are a fair distance from the background that results in a lack of detail in the scene.

Sometimes, to improve a shot you don't need more kit, you just need to be smarter with the kit you have. So with the exact same setup and lighting you can create a completely different shot. Simply move the model and the lighting closer to the backg… — Sometimes, to improve a shot you don't need more kit, you just need to be smarter with the kit you have. So with the exact same setup and lighting you can create a completely different shot. Simply move the model and the lighting closer to the background and allow the light to spill into the scene which in turn provides context to overall shot.

4. Joined-up Shadows

Again this is a mistake that is quite subtle and sometimes tricky to avoid but it's always worth being aware of it. A basic rule of lighting for me is that you always want to create 'clean lighting'. Clean lighting is lighting that doesn't scream "hey look at me, I'm using 6 lights in this setup", it's lighting that compliments the subject and nothing more.

Remember adding that fill-light earlier? It added a lot to the image without screaming that you're using an extra light, that's clean lighting.

If you're looking for an example of the cleanest lighting around then it can often be found in the hands of car photographers. Good car photography is arguably one of the hardest disciplines in our filed to master. If they position a light in the wrong place when lighting a car then the ultra-shiny surface of the car will loose it's clean lines and shape instantly. Car photographers never use more lights than they have to but each one is positioned with absolute precision. In fact I've even seen some car photographers place lights to solely generate hub-cap catch-lights in the shot but not actually light the surface of the car in any way. They are a patient breed indeed!

For those of us that are photographing people, we often don't have the time or the need to be that precise but it's still certainly worth knowing what looks good and why. One way to do this is to join-up your shadows.

The idea of 'clean-lighting' takes a little more time to get good at because at first, it may not be apparent as to what you're looking for. As a general guide, joining up shadows on the subjects face is a good place to start. In the above imag… — The idea of 'clean-lighting' takes a little more time to get good at because at first, it may not be apparent as to what you're looking for. As a general guide, joining up shadows on the subjects face is a good place to start. In the above image has a nose shadow that doesn't join the cheek shadow, visually that can make the nose appear bigger than it actually is.

Sometimes it's not even about the lighting placement at all but more about working with subjects pose. Simply getting your subject to move their head a little can fix this and then you can join those shadows up and create a visually cleaner looking … — Sometimes it's not even about the lighting placement at all but more about working with subjects pose. Simply getting your subject to move their head a little can fix this and then you can join those shadows up and create a visually cleaner looking shot.

This is a very simplistic setup to illustrate the point but this problem is far more apparent when using very hard light sources like grids and snoots.

It's worth pointing out that sometimes you don't even need to adjust the lighting at all but just ask your subject to move and adjust their pose within it. In this instance I've asked the model to turn further away from the light to join up the shad… — It's worth pointing out that sometimes you don't even need to adjust the lighting at all but just ask your subject to move and adjust their pose within it. In this instance I've asked the model to turn further away from the light to join up the shadows, but I could just as easily of asked them to turn into the light to remove the offending shadow altogether.

Thankfully joining up the shadows is easier to do than you might think, you simply just have to watch out for it. In this example image here I'm using one light to illustrate my point but every light you add to a scene should undergo the same scrutiny. The one thing that we as portrait photographers have to contend with over car photographers is that our subject is often moving but we can use it to our advantage if we're clever.

In this example image I am specifically looking at the shadow created by the nose. You should see that in one shot the shadow ends and then some light cuts across the cheek and then another shadow is created by the cheekbone itself. This is what I would refer to as messy lighting, it's creating more distracting elements to a shot than necessary. I then asked the model to move her head to her right so that we now have no gap of light between the nose shadow and the cheekbone shadow. This essentially gives the impression of a single shadow area on the face and this is what I refer to as "clean lighting".

Of course I could just as easily of asked her to move her head to the left and removed the nose shadow altogether. This again would be cleaner lighting than before.

It might not seem like much but imagine this happening with fill-lights, hair lights and background lights in the mix, the lighting would start to look very messy and untidy, very quickly.

Watch out for these additional shadows and where possible adjust your lights to avoid them or better yet get your subject to move and pose to avoid them as well.

5. Poor Hair-Light Placement

The placement of hair lights is another example of how something looks fine until you're shown how it could look better. Firstly you have to know why you're using hair lights to begin with. Are you simply adding them to add a little shine to the hair? Are you trying to accentuate shape in the hair or are you just trying to create strong separation between your subject and background? All of these are valid reasons and with a little care and attention your hair light placement can achieve all of these. For a lot of my portrait work, unless it's a specific hair shoot where I would have multiple hair lights my general aim is show clear separation from model to background. Imagine you have a dark background and a subject with very dark hair, you'll quickly see that the two will begin to merge into one another so placing some hair lights can be a simple solution to avoid this.

So now that we know why we want to use the hair lights, what's the best way of using them? First off is the placement of the lights and this is crucial as it won't be in the same place for every subject you photograph. As a guide the lights should be placed behind the subject pointing forward towards the edges of the subjects head. Next, they should be placed just far enough apart so that no light falls onto the front of the face and the tips of the nose and lips. This may sound incredibly obvious but keep an eye out for how many shots you see where the hair lights are catching the front of the face and causing this incredibly confusing and distracting lighting on the subjects features. You have to ask yourself, "which shot looks better, the shot with or without multiple highlights falling on the subjects face?" It should be plain to see when it's pointed out but you'd be surprised how often you see professional portraits like this. The other key factor is the power of the hair lights and as a rule I tend to stick to as little amount of light as I can get away with. Remember, flash photography is never about "look at how many lights I'm using" but about adding lights to compliment the subject, most of the time these additional lights in the setup will require less power than you think.

So in this image, we have our classic key and fill light setup. This is exactly the same as we mentioned in our under-lighitng section, we have a little fill to soften the shadows under the models jaw but the hair is looking a little flat.

In this image I have no added my two hair lights behind our model and they're pointing back to camera. At the moment we have an awful lot going on in this shot, yes we've lit the hair but we've also added a lot multiple highlights and visual distrac… — In this image I have no added my two hair lights behind our model and they're pointing back to camera. At the moment we have an awful lot going on in this shot, yes we've lit the hair but we've also added a lot multiple highlights and visual distractions.

In this shot we've adjusted our hair lights only. It should be pretty clear to see the difference here. We've now added a lot of shape and detail into the hair but we've removed all of those unwanted and distracting highlights on our subjects face.

This is the classically simple key and fill light setup before we've added our hair-lights.

We want to add some detail and dimension into our subjects hair so we add a couple of hair-lights. Unfortunately, although we've lit the hair, we've also lit the side of our models because we have our lights too far forward pointing in.

We can easily remove these distracting highlights on the models face by pulling our lights further behind our subject and pointing them back as seen here.

In Conclusion

So there you have it, just a handful of the classic lighting mistakes that I personally think can easily be avoided by those setting up portrait lighting. Like I mentioned at the start, these are subjective and there is always occasions to bend these 'rules' with lighting but if you're starting out or just have this nagging feeling that your lighting needs improving, you may find that these 5 classic pointers will help.

I also attributed commercial value to these tips at the start of the article. I rarely do that because photography is predominantly an art form and art has very few rules. But seeing as these 5 rules were a significant part of the lighting-bible that I provided to new photographers who entered our busy studio, I felt I should mention it.

Everybody takes photographs for different reasons but professional photographers rarely take photographs for other photographers and as such they need to keep the clients perception of 'great' photography in mind. Sure if you want to impress your friends on Instagram then don't worry about the catchlights and nose shadows because you can write it off as 'artistic'. If on the other hand you're shooting for a client, you better make sure your lighting is locked down tight because although your client may not be able to explain why the lack of catchlights in the models eyes looks lifeless, they wont be using your skills again.

Know your audience and shoot accordingly.

As a general guide, my lighting philosophy is to keep the lighting as clean as possible and keeping questions in mind like, 'does adding an additional light to this setup add an interesting element? Or 'does that extra light highlight a distracting one? Keep that in mind when you're setting up each and every light you'll be fine :)

Good luck guys and of course let me know if you have any questions. Also, what's your top lighting commandments that you live by? Do you have one that isn't mentioned here as I'd love to hear it. Let me know in the comments below.

:WARNING: The true cost of self improvement lies in wait below ;)

That's right, I'm finally brining my workshops Stateside. After years of being pestered to sort this out I'm now bringing my Coloured Gels Workshop, my NEW Colour & Exposure Workshop and my entire Post-Pro Workshop to the U.S. for the first time. If you'd like find out more and to register your interest then check out the link provided. See you there :D JHP U.S. Workshops

I have also just released a brand new 22 hour complete Gelled Lighting Tutorial video. I go over everything from studio lighting setups with gels to being on location with gels plus I also go through my complete retouching and post pro workflow. For more details and complete breakdown of everything that's include check out my Coloured Gel Portraits Tutorial

What's in my quick and nimble lone-wolf lighting kit?

The majority of my work involves bigger more complicated setups that require multiple lights and consequently lots of bags, equipment and assistants to help with it all. There are jobs though that just require a couple of lights and myself to turn-up and deliver results quickly and efficiently. On those occasions in a big city like London I may also find it far more effective and certainly a lot quicker to use public transport. If that's the case then I need a lighting kit that is very mobile and compact. So alongside my camera bag in rucksack with a couple of lighting modifiers, here's what's in my two-head lighting kit.

1. Peli Case 1440 - Wheeled with extending handle.

This is a perfect case for when I'm transporting kit on my own and on public transport. The wheeled unit also means that I'm not carrying or dragging those old kit bags like I used too. On top of that the Peli cases are practically indestructible and I can easily lock it if I feel I need too.

Peli 1440 Case

2. Two Bowens XMT 500 Location Heads.

Absolutely love these battery powered heads. As of July 2017 Bowens announced the liquidation of their company so I feel I should at least warn you before investing in the system that although they are excellent lights, parts, warranties and replacements are pending. I'm pretty confident that somebody will pick up the brand and continue the line in some form or another in the future. As of yet that hasn't happened as I'm sure potential investors are waiting for Bowens to shed its debts and pick it up for a rock bottom price. Time will tell.

Bowens XMT 500

3. Portable folding lighting stands.

These are great stands and super lightweight too. They fold to pretty much the exact width of my Peli 1440 which is perfect and I just strap them over the top either side whilst still leaving the carrying handle accessible.

These come in the Bowens lighting kits but you can buy similar versions here Manfrotto 5001B Nano Stand

4. Jake Hicks Photography Gel Packs - Definitive Collection, Utility Gels and Pastel Pack.

I'm sure you're all aware that I sell my own gel packs by now. They've been selling all over the world every single day for years now so I must be doing something right with them. This is no sales pitch waffle but these are the gel packs I use on each and every shoot. They aren't just for show and a gimmicky sales opportunity these packs came from me shooting and using these gels consistently to the point where I was being asked what gels I use all the time. In the end I decided to formulate them into these packs and the rest is history :) Check out the links below for more details.

My website gel packs product info page

Definitive Collection

Utility Gel Pack

Pastel Gels Pack

5. The ‘office divider’ 1440 Peli Storage case.

The Peli 1440 comes empty as standard and it's up to you to choose your innards. You can obviously choose what works for you and I know a lot of people go for the foam but I prefer the flexibility of the 'office divider' kit.

Padded Dividers for Peli 1440

6. Floor stands x2.

Pretty straight forward but these allow me to gel a background light behind the model or place a fill light at the models feet via a spigot and one of these floor stands.

Manfrotto Backlite Stand

7. Umbrella holder bracket.

A lot of strobes come with the umbrella mount off centre and the Bowens XMT heads are no different as they have the umbrella mount on the side. This simple bracket allows me to mount the umbrella directly under the strobe when it's mounted on top.

Umbrella Bracket

8. ‘Water Weights’ - Stand stabilising weights.

These are portable and foldable weights to weigh down your stands on location. You simply fill them with water or sand when you arrive and then empty them when you're done. Pretty clever design and super small and lightweight to have in your kit bag for those 'just in-case' moments. If you're thinking of getting one then feel free to use my discount code THANKSJAKE at the Trade Secrets site below.

Single Water Weight

Triple Pack Water Weight

9. Manfrotto 035 Super Clamp.

This big clamp has a huge number of uses that includes mounting a fill light to my key lights stand or with additional attachment of the Manfrotto extension arm, it allows me to create a mini-boom. For more info on these uses check my Quick-Tips page.

Manfrotto Super Clamp

10. Mini Crab Clamps.

These little clamps screw to the top of my light stands and allows for a multitude of uses. They can hold light flags, and even backdrops via any additional pole. Again for more tips on their uses, check my Quick-Tips page.

Crab Clamps on eBay

11. Manfrotto 042 Extension Arm.

I mentioned in the Super Clamp info above that I use the extension in conjunction with the Super Clamp to fashion a mini-book for my key light. You guessed it, check my Quick-Tips page.

Manfrotto Extension Arm

12. Manfrotto 175 Spring Clamp.

I probably use this clamp the least but I still like to carry it. It can be used in conduction with the umbrella swivel to be attached atop my light stand to hold either black light flags or even small reflectors to bound light.

Manfrotto Spring Clamp

13. Manfrotto 026 Swivel Adaptor.

I use this heavy duty adaptor atop my key light stand and attach my key light to it. This enables the key light to be positioned either side of the light stand and offers me symmetrical lighting on my model without the light stand getting in the way of the shot. Again, more info on this setup then check my Quick-Tips page.

Manfrotto Swivel Adaptor

14. Adaptor Spigots and converters.

These have no use on their own and have to be paired with nearly all of the other clamps, adaptors and stands to connect them. For example, one goes into the floor stand and then you attach a strobe to the spigot. I always carry loads of these.

Spigots at Calumet

15. 3 metre 1/4in (6.35mm) Mono extension cable lead x2.

These cables are simply extension cords to plug into my strobe heads and then optical slaves into that. This allows me to place optical slaves to trigger my strobes in awkward situations where radio triggers fail. This is rare but they've saved my shoot from being a complete nightmare on more than one occasion.

Amazon Guitar Amp Extension Cable

16. 1/4in (6.35mm) Micro plug optical slaves.

These are the optical slaves that I plug into the aforementioned guitar amp extension cables. These are older models that are very hard to come by now and unfortunately pretty pricey.

B&H 1/4 inch micro slave

If you're looking for a more modern and accessible alternative then I recommend checking the significantly cheaper hotshoe trigger than can be connected via light-meter cable and then positioned and triggered in the same way as mine.

Amazon Wireless Hot Shoe Slave

17. Multi purpose lightweight clamps.

As simple as they sound. Just pick up a few cheap clamps. These cheaper plastic ones will break but they are a lot lighter to carry around so ensure you have a bunch of them handy just in case.

Amazon Mini Clamps

Okay so that's my lone-wolf lighting kit bag. If you have any questions on any of that then let me know. Of course I'd love to know what's in yours and if there's an item you have that you never leave home without. Also, do you see something here that you've done away with to use something else? I'd love to hear if you swear by other alternative pieces of gear that do a similar job but better :) Let me know in the comments.

:WARNING: Yet more cool stuff to buy below!

That's right, I'm finally brining my workshops Stateside. After years of being pestered to sort this out I'm now bringing my Coloured Gels Workshop, my NEW Colour & Exposure Workshop and my entire Post-Pro Workshop to the U.S. of for the first time. If you'd like find out and to register your interest then check out the link provided. JHP U.S. Workshops

How to contact and book a photoshoot with a model

Whether you've been shooting for five minutes or five years, there will come a time when you'll have to book a shoot with another person. Maybe it will be a friend or coworker and maybe it will be a full-time professional model. Whoever you're contacting though, they'll need to know some fundamental facts about what's involved in your shoot before they agree to be involved. In this article I discuss some of the key things you should include when contacting and booking a model.

A lot of shoots rely heavily on the fact that a model is going to be there. A properly constructed message to a model can certainly reduce the chances of them declining the shoot or failing to turn up.

I'll start by saying that I'm no self proclaimed expert on contacting models, but I'd like to think that based on the huge number of shoots I've booked and planned over the years that I have a fairly solid understanding of what's important information when it comes to organising shoots and what's not. It's also worth noting that there is no one perfect way of doing this, we all prefer to be contacted in different ways and we all consider certain shoot information to be more important over others. But I do believe that a properly constructed message that contains some of the following key information can go a long way to ensuring a shoot goes ahead as planned. A professional sounding message can reassure models that you know what you're doing and considering that out of the models I've personally booked I have never had a 'no-show' and only three or four cancellations (all for seemingly legitimate reasons) over the years I'd like to think I'm doing something right.

But don't take my word for it, after all I'm just a photographer. So to further cement my initial ideas on best practices for contacting models, I asked them.

A few weeks ago I put together a simple and straight forward questionnaire and asked all of the models I knew to take five minutes to give me their opinions on how best to get in touch with them when booking a photoshoot.

Over 40 models kindly gave their time and feedback in the questionnaire and the foundation of this article is built on their responses and what they want to see in the messages they receive from us.

There's a huge amount of planning and preparation that goes into the perfect photoshoot and that includes contacting and booking a model.

First Contact - What not to do

No matter what you're planning to shoot, there will always be a first message. To me this is the most important message and getting this right or wrong can determine a huge amount about how the shoot evolves into actually happening or not.

The photographic industry has never had so many people taking pictures as it does now and it has to be said that most of those photographers are not relying on taking pictures to feed their families. There's absolutely nothing wrong with this, some of the best photographers I know don't shoot professionally and enjoy the act of taking pictures in their spare time simply to enjoy taking pictures. The reason I mention this is to highlight the fact that whether or not you're shooting commercially or for fun, the model you're most likely contacting is trying to make a living from it. Nearly every model I've ever worked with is incredibly dedicated and hardworking and they take their job very seriously.

According to my questionnaire, 53% of the models I asked were booking between 5 - 20 shoots per month. They are busy people.

So if you are a photographer shooting for fun, remember that the person you're contacting is at work when you get in touch with them. They're looking at diaries and accounts, juggling traveling expenses and traveling times so please think twice about contacting a professional model in the same way you would organise a night out with the lads.

“Hi darling, I saw your photos on Instagram and you look gorgeous in them. Fancy shooting with me.”

— anonymous

First Contact - What you should do

Okay so we've established that modelling is a real job and that they're professionals or at the very least aspiring professionals. Consequently we should contact them like we contact any other business person. They need to know when the shoot is going to be, what's involved, how much it's going to cost etc. This may seem pretty obvious but trust me there's plenty of examples of information being missed off in the initial contact where this first message should clearly and comprehensively explain what's involved, who's involved and when it's going to take place. But let's take a deeper look at what we should include when initiating contact with a model.

“Just be cool! Remember, you’re talking to a person, not an object that purely exists to be photographed. Find the right balance between professional and casual and always be honest about what you are looking for.”

— Model: Josefien - Instagram.com/necianavine

Questionnaire Findings

The whole purpose of the model questionnaire was for this article. The internet is not known for its forgiving nature and although I thought I had all of the answers on how to contact a model, I felt I needed to back that knowledge up with evidence from the people in question. Firstly, I was obviously very humbled by the overwhelming response from the models who took part and their eagerness to contribute to this piece, (I get the feeling this subject is something that a lot of models have strong opinions on and rightly so) but I also learned a few things from the results myself as well.

Let's take a quick look at the demographic of the models that took part in the questionnaire. Remember that over 40 models took part in this so the following graphs shows answers as percentages of that total.

Are you represented by a modelling agency?

How many shoots do you book per month?

What level do you model up too?

Who books your shoots?

I think it's fair to say that most of the models who took part are not only very busy people but are also solely responsible for booking their own shoots. This is perfect for the article in question because it not only highlights the fact that you're contacting busy professionals but also that the model you're trying to book will be the actual person reading your message.

Should I do anything before I get in contact with a model?

Before we contact anybody about anything we need to know a little about them first. Every single model is different and they all have varying rates, preferred contact methods and 'levels' (this is the term that dictates what styles of photography a model is comfortable modelling up to, these include straight fashion, lingerie, implied nude and nude etc). So what information should we look out for before putting 'fingers to keyboard' and getting in touch for the first time.

In this next section of the questionnaire I asked models what was important to know about them before getting in touch.

Do you agree that a photographer should read your modelling profile before getting in touch?

Do you agree that a photographer should understand whether or not you shoot for TF (free) or paid shoots only?

Do you agree that a photographer should understand your modelling 'levels' before getting in touch?

Do you agree that a photographer should know where you are based before getting in touch?

So based on the information that was provided to us by our gracious models, we can see that a few things are pretty important to understand about them before getting in touch.

Firstly, 90% of models agreed that reading their modelling profile was important before getting in touch. It seems obvious I know but so often you'll ask a model a question that is clearly already outlined in their online profile.

Secondly, a staggering 95% of models said they agreed that photographers should understand their modelling levels before getting in touch with them. Again, this seems obvious but DO NOT contact a model and ask them to model nude if they only model up to lingerie levels.

What details should your initial message contain?

In the questionnaire I also asked the models for some pointers on specific content that the first message should contain when we reach out to them initially.

“Try to give all the important and useful information in the first email. The location, duration, date, pay, and a little initial info about the shoot content are very important, but unless the booking of the shoot relies heavily on the exact content, your ideas can be exchanged later once a shoot is confirmed.
Use good English and be polite and friendly, we really appreciate that.”

— Model: Lizzie Bayliss - www.lizziebayliss.co.uk

How important is it to have the date and time of the shoot in the initial message?

How important is the location of the shoot in the initial message?

How important is it to include whether this is a paid or TF (free) shoot in the initial message?

How important is it to hear the photographers styling ideas in the first message?

Again, we have some more obvious results here. Things like date and time, location and whether the shoot will be paid or not should definitely be included in the first message. Your ideas and styling options for the shoot are usually preferred but not essential.

Writing the message

Okay so to those millennials with the attention span of a cornered badger who just skipped all the way down here, firstly welcome and thanks for joining us. Here's the 'magic bullet' content you were after.

I'll mention again that there is no one right answer for everybody but here is what I do and here is what I write. I personally choose to write one very comprehensive first message that it is clearly headed in bold at the start of each relevant topic. This way everything is there and if certain models aren't too concerned about styling notes on a shoot that's months away, they can skip it and come back to it later. Also I've found that using clear headers like this for each section allows you to find pertinent information in the message later on like location and time without having to read the entire thing again.

“Contain as much relevant info in the initial email as possible such as when you’d be looking to book, even something as vague as a weekend in June can be a good starting point. State how long you’d ideally be looking to book, any potential locations / studios you were thinking about using. Any links to inspiration etc.. is handy too.” “The more information like this, the easier it is (especially for very busy models) to answer the majority of your questions and get a shoot organised in good time rather than lots of unnecessary email ping pong.”

— Model: Atalanta - www.atalantamodel.com

The following letter is a good example of what I would typically send as an initial message to a model if I was planing a test shoot.

Dear 'Model Name',

I am in the process of organising a test shoot and I am reaching out to you as a model because I came across your portfolio online and loved your work. If you don't mind I'd just like to check your availability and if you'd consider working with me on this project.

Dates & Times

I was looking to arrange this shoot sometime towards the end of this month. Do you work during the week or only on the weekends as I'd prefer one day during the week if that's possible. I know you're based quite far from me so I'm pretty flexible on a start time. I normally recommend starting at around 12 noon and finishing up around 6pm if that helps you with travel times but like I mentioned, I'm flexible on this if this doesn't work for you. Please let me know what dates you have available.

Shoot Location

I am currently based in 'state your location' and I am a five minute walk from the nearest train station if that helps you plan your travel arrangements.

A lot of my test shoots tend to be shot here in my home studio. Space is limited but some of my best shoots and collaborations have been shot here including the shoot I did a a couple of months ago with 'insert model name' so they can tell you all about it you want to know more 'insert a link to the shoot with the aforementioned model'.

Like I mentioned, I'm super easy to get to via train as the station is a two minute walk from my place and I can come and collect you off the train if you like. If you're driving instead, just let me know and I'll get you the address details and parking arrangements.

The Shoot Plan

I had some lighting ideas I wanted to put into practice but I can also get some shots more tailored to what you were after as well. 'Insert your predicted shoot times here e.g. Normally a shoot is 4-5 hours long and we would get at least three or four very different sets done in that time'. At the moment I'm shooting a lot of coloured lighting shots so that would probably be a key attribute in our shoot together too.

Styling

Regarding styling, I'm happy to hear your thoughts on what you'd like to shoot in, especially if you have something interesting or more unique in mind or available. You should be able to get a pretty good idea of what works and what doesn't in my shoots from my site but as a general guide there are a few items that are always winners. Take a look at these previous shoots and ideas to see what I mean: 'insert links to previous shoots or mood boards here'

Any questions at all then please feel free to get in touch as I'd love to hear your thoughts on this too.

Also if you have some styling ideas, please feel free to either send me some shots or links of what you're thinking of so I can better plan what would look good with them lighting wise.

Final Images

From our test shoot you would look to get a minimum of 'Insert number of images you're happy you can deliver here' un-watermarked, hi-resolution, fully retouched files that I would choose. You would receive these over the period of around 4-6 weeks as I work on them around my commercial work.

…and finally (I promise)

Haha, I'm sorry if that's an information overload but I thought it better to get as much info across from the start to avoid too many messages backwards and forwards and so that you knew what you were getting into from the beginning.

I'd love to hear your thoughts though and by all means I'm always open to suggestions.

Thanks again, enjoy the rest of your week and I very much look forward to working with you soon :)

Kind regards

Your Name

Your Email

Your Website

So that's the message I send out and I amend it to suit specific needs like if it's a paid shoot instead a test shoot for example. Also let me explain a little further on some of the information I shared in this message.

The Opening Paragraph

The opening lines I've included here are pretty generic for the purpose of this article and I would advise you to tailor it more specifically to the model you wish to contact. The key points to include though are; state as early as possible if this is going to be a paid or test/free shoot. This is just courtesy as sometimes a model is so busy she's really only looking for paid jobs regardless of how amazing your portfolio might be. Secondly be excited about the prospect of working with them but don't be overly creepy. Avoid things like highlighting specific body parts that you love about them and avoid referring to models with terms like 'love', 'gorgeous' and 'darling'.

Dates & Times Details

You'll notice that I was specific but not too specific on a date. We all know models are busy so don't send your first message with only one option open to them. There's nothing worse than messages bouncing back and fourth trying to pin a day down so give them a few options. Also, check if they work during the week too, some models are excellent at what they do but might have another day job that prohibits them from working during week. Find this out early on to establish their availability.

Also, remember that they're the ones travelling to you, be sensible and please be realistic about your start time expectations. I think it's fair to say that a lot of the modelling community is fairly young, they may not have 'made it big' like you just yet and unfortunately may not have their own vehicle so will have to use public transport. Public transport takes time so provide them with information about the surrounding train or bus stations if you can.

Shoot Location Details

You'll notice that I not only stated where geographically I would be shooting but I also specified it was my home. This is an important distinction to make as it can sometimes be a shock to the model if she was expecting to turn up at a studio but when she arrives, she's actually entering your home. A lot of photographers shoot from their home and there's nothing wrong with this but it's about being completely transparent right from the start. I also used this as an opportunity to include a link to a previous shoot with another well known model and I even went as far as to recommend they get in touch with them if they would like to know more about the location and experience. Again, I will reiterate that it can be a bit intimidating going to a strangers home for the first time so giving the model the option to check everything is okay with another model is a reassuring statement. Never underestimate how connected models are with other models as they wont hesitate to contact one another if they have doubts about the shoot.

I have also tried to make it as easy as possible for them to say yes by including details about convenient public transport nearby. I also mentioned that I would happily meet them at the train station too. Again this is another sign that you're well intentioned and a half decent human being for wanting to help them with all their bags etc. But most importantly, some models like to meet publicly first and you meeting them at the station is yet another reassurance that they can walk away if need be over simply turning up on your doorstep and hoping for the best.

“Since many photographers are males, and they usually address female models, they have to be aware, not to be crass- not to be creeps.
No sane woman would say yes to “hey, i’m a photographer, want me to shoot you?” nude or clothed, it’s not professional.
If you want to be seen as a pro, conduct yourself in such a manner- write a nice long message detailing your name and experience, why did you address me specifically, what project you have in mind (including style and location) and a rough date. Don’t use casual language which can be interpreted as a come-on, attach previous work, and be straight forward about whether it’s a paid shoot or not, how many edited pics will the model receive and after how long.”

— Model: Gal BePole - www.galbepole.com

Shoot Plan Details

In this first message you don't need to go into too much detail about the shoot but I still feel it's a good idea to include just a couple of sentences about what you're planning. Things like how many sets you're planning on shooting, whether it will be all indoors or some outdoors etc. Again this info can be handy for the model to have a cursory glance at. Nothing screams 'I don't know what I'm doing' more than 'Hi I'd like to book you for two hours and shoot seven different sets both indoors and out'.

Styling Details

Again, styling details needn't contain too much information and details in this first message but I still think it's reassuring for the model to glance at before they book a shoot. The reason for this is because it's a clear indicator of your shoot intentions prior to the shoot. Some models have different rates for different 'levels' so if you're paying for fashion level modelling yet you're asking for her to only bring lingerie this is a big alarm bell. Again I'll reiterate, be totally transparent about your shoot intentions from the start. There's nothing wrong with wanting to shoot lingerie, just make it clear from the start.

Final Images Details

This section is probably going to cause you the most problems starting out because there is no information anywhere on what you should or should not offer to models after a test shoot. In my questionnaire I asked models what importance they gave to receiving information on the retouched files they would receive in exchange for their time at a 'test' shoot.

How important is it to understand exactly what you get in exchange for your time on a 'test' shoot?

How important is it to know how long you'll have to wait before you receive your images from a 'test' shoot?

100% of models said that they would either definitely want to know or would prefer/would be nice to know what to expect in return for their time at a test shoot.

What you choose to offer in exchange for a test shoot will ultimately be up to you but I personally think that a model receiving 15 or more exceptional images 1-2 months after the shoot is minimum requirement for an afternoons worth of their time.

I'll also add here that I understand I'm in a privileged position and that I've been doing this a long time and as such I am able to dictate more than I could do ten years ago. I only shoot a handful of test shoots a year now and as such it takes me a lot longer to retouch their images around my commercial projects.

I also stipulate that I will be deciding which images get retouched. These are things that I couldn't get away with ten years ago so if you're starting out you might want to be realistic on what you're offering. For example a lot of models would want to choose a handful of shots themselves. You can offer to split it and say 'you'll get 10 shots, you can choose 5 images and I'll retouch them for you and I'll choose 5'. I would also say that most models expect to see some retouched images within 4 weeks of a shoot.

Whatever you decide make sure it's clearly stated in your initial message so that both parties are officially happy and no bad feelings are felt after the shoot. Additionally, whatever you decide to offer, STICK TO IT. Don't say 'okay you'll get 20 shots within two weeks' and then only provide 5 or worse, none. If that happens, you're a bad photographer and you can't blame it on bad 'modelling' so there wasn't many shots. It's our job to take great pictures regardless. If you don't want that pressure of guaranteeing great shots then perhaps a test shoot isn't for you, pay the model instead. Do your best on the day, pay the model for their time and treat it as a training exercise without the stress of having to perform. That way if the shots turn out crap, you learn something and the model isn't hounding you for images and spreading bad words about you. If the shots turn out great then that's a win no matter what. You can then also decide to share the shots with the model if you'd like them to share your awesomeness too.

Make the shoot happen.

This might seem like a lot to cover in a single message but all of our time is precious. If I book a shoot, I don't want to give the model any reason whatsoever to cancel or postpone and all of these positives add up to them not worrying about what to expect on the day of the shoot. You are essentially taking away every single problem and providing them only with solutions and reassurances. If you do all of this, you'll book way more shoots and reduce your cancellations dramatically.

“Just to be conscientious, especially when talking to a young lady who is considering shooting with someone she does not know or has not worked with. If you can guide her to testimonials or people you have worked with previously for piece of mind then that will go a long way to putting her mind at ease. It’s not the easiest industry to break into when you’re starting out so putting yourself in someone else’s shoes and doing what you can to reassure them is a great way to build rapport and trust prior to the shoot, often resulting in better images when someone feels more comfortable around you.”

— Model: Sammie Howe - instagram.com/sammie_howe

Final thoughts worth mentioning

I love a good graph as much as the next guy but I promise you these are the last of them. Okay so you've finally got your message ready to send but wait, before you send it what is the best channel to send this message on?

When a photographer contacts you, what are your preferred methods of initial contact?

Multiple answers possible.

Based on these results, most models prefer to be contacted via email, Facebook messenger and directly via their website.

What happens now?

So you've sent your perfect message, the model has agreed to everything and you're both happy with the date and time so what should you do between now and the shoot date? Some models will provide you with a lot of contact information including a phone number prior to your shoot. It's worth bearing in mind that this phone number is often only provided to you for last minute updates and changes to the shoot. That phone number is not provided to you for a quick chat once a day several weeks prior to the shoot 'to discuss the shoot'. If you would like to remind your model about your photoshoot, take a look at what models recommend as the best way to stay in touch and remind them of the date and time.

Do you give out your phone number to photographers prior to a photoshoot?

After the shoot details have been confirmed, how many times do you feel it is appropriate for the photographer to 'remind' you of the details?

According to this, most models are more than happy to provide a number to contact them on. Like we established at the start of this article, models are busy professionals just like any other and as such only require one or two friendly reminders prior to shooting.

“- I prefer more details of the logistics (date, time, payment and location) first rather than ideas. Nothing worse than discussing and wasting time about their ideas, sharing pictures to find out he wants to shoot for two hours somewhere while is four hours away next week (when I’m fully booked for the next 3 months).
- A link to current work (not sending images in the message).
- If not know then a name of a model he has worked with recently that I would know that I can contact for a reference if they are not on purpleport.
- To always keep information about a shoot in one place rather than spread it through different media channels.
- Phone calls discussing a shoot are not ideal but sharing numbers is vital for communication on the day.”

— Model: Anonymous

Millennial Check List

So although this article was more of a thesis, I felt that I was in an extremely privileged position thanks to that fantastic data I had collected via the model questionnaire. All of that data came from professional models on some of the pitfalls we as photographers might encounter whilst arranging a photoshoot with them and as such I wanted to share as many of my findings as possible.

I totally get that not everybody wants to read all of that data so here's the highlights from what I've learned regarding contacting a model for a photoshoot.

Whether you're shooting for fun or commercially, remember that the person you're contacting is a professional person and not an object to photographed.
Find the balance of professional and casual when initiating contact.
Be positive and excited about the prospect of working with them but don't be a creep.
Always be entirely transparent about your photoshoots intensions from the start.
Ensure that you've read the models profile to check if they're appropriate for your shoot.
Always check the modelling levels of the model you're contacting. For example don't ask a lingerie model to pose nude.
If you're contacting a model about a test shoot, make sure they're happy to consider working for free.
In you're initial message to a potential model be sure to include these key details: is the shoot paid or not, some potential dates, your location, some basic styling and shoot ideas and what they can expect in return if it's a test shoot.
If at all possible, try and find the models preferred method of contact but this is normally either via email or Facebook Messenger.
In preparation for your shoot it's probably a good idea to remind your model once or twice in the week leading up to the shoot.

“Be professional; phrase things correctly and make sure the message is readable and makes sense. Include whatever details of the shoot that you have - paid or not paid, levels, the idea or theme for the shoot. Ideally the more details about possible outfits or looks the better, otherwise it can be very vague...which makes packing and planning hard!”

— Model - Neva Moria

Questions and Further Reading

Congratulations indeed if you read all of that. You are either writing a research paper yourself or you're about to dramatically increase the number of shoots you book and dramatically reduce the chances of models cancelling on you in the future. I appreciate that there is lot of info here and if you need to just pick the relevant sections out for yourself then please do so. I personally feel that there isn't an article out there like this already and I really wanted to back it up with the data that the working models so graciously provided.

To keep this article even remotely sensible I unfortunately had to omit certain data. If you'd like to see the results in it's entirety then I will provide a separate page of graphs and charts that you can pour over to your hearts content. If you use any of the data collected here then I would insist on being credited and sourced in the relevant document. You can find the complete questionnaire result here. Model Questionnaire Results Page

If you'd like to see the original full questionnaire, then it's still online here Model Questionnaire

As always, if you have any questions then do not hesitate to speak out and I'll do my best to answer them or at the very least ask a model that might know more than me.

Feel free to share this with your photographer friends as I think it can help photographers of all skill levels to develop better working relationships with models.

“...and my last bit of advice would be, us models don’t bite! ;)”

— Model: Amber Tutton - www.amber-tutton.com

All that's left to do now is to sincerely thank all of the models who took part in this questionnaire because without them this article would not have been possible. A lot of the models who took part in the questionnaire asked to be kept anonymous which is fine but plenty of them asked to be credited below so please make sure you check out their outstanding portfolios. May the Modelling-Gods have mercy on your poor photographer soul if you dare send any of these models a crap message though - you have been warned ;)

Ayla Rose - https://www.aylarosemodel.com
Layla - Www.laylabroers.nl
Josefien - www.instagram.com/necianavine
Lizzie Bayliss - www.lizziebayliss.co.uk
Neva Moria -
Atalanta - www.atalantamodel.com
Jaye Hicks - https://www.instagram.com/jaye.hicks/
Gemma Huh - www.gemmahuh.co.uk
RoisinMM - www.facebook.com/roisinmm
Amber Tutton - Www.amber-Tutton.co.uk
Nina Hannaway - https://www.instagram.com/ninahannaway_fitnessmodel/
Sammie Howe - https://www.instagram.com/sammie_howe/
Rebecca Lotus - www.instagram.com/rebeccalotusuk
Maddi Marshall - https://m.facebook.com/Maddi-Model-394984970885463/
Sian - Siân.fran.sisco
Samantha Robinson - https://m.facebook.com/samalama.bangbang/
Gal BePole - www.galbepole.com
Lignum Vitae - www.instagram.com/lignumvitaemodel

:WARNING: Outstanding sales opportunities are mere moments away :D

That's right, I'm finally brining my workshops Stateside. After years of being pestered to sort this out I'm now bringing my Coloured Gels Workshop, my NEW Colour & Exposure Workshop and my entire Post-Pro Workshop to the U.S. of for the first time. If you'd like find out and to register your interest then check out the link provided. JHP U.S. Workshops