THE MAKING OF A WELL EQUIPPED MODEL

Amy Ploof of Identities

Yes, it's me again, and yes another blog is coming your way, just after a short interval of time since the “oath” blog. When people come to my blog (especially models), I always want them to walk away with something that may help them along the way. A lot of the things I say may not affect them now, or even make sense, but somewhere down the line, the model may be in a photo shoot perhaps and a light bulb will go off an they will say to themselves: “THIS is what Dallas was talking about.”

If any of you follow me on Facebook or Twitter, models from coast to coast constantly hear me talk about boot camp, boot camp, boot camp. My dear friend and world renowned runway coach, Michael Maddox (http://www.michaelmaddoxrunway.com/, http://www.dearmichaelmaddox.com/, http://www.michaelmaddoxrunway.com/) talks about it in his seminars.  My good friend and amazing hairstylist Tim Johnson explains it to models he is trying to develop in the southern states. I extol the fundamentals of modeling. The understanding of light, the understanding of a model’s angles, the importance of posing, the importance of emotion, the understanding of presence, how to connect with the camera/photographer, the true meaning of head to toe modeling. I’ve boot camped veterans and neophytes alike and every single time I was met with a “no one has ever told me that before.” Yeah, I’ve become that photographer.

So you, the model, will now think: “well I got some really great images now. I’ve worked on my personality. I’ve learned how to flirt. I went through Dallas’ boot camp. What more do I need to know?”  A lot. 

Honestly I am surprised I have never covered this topic before, but a model posed a serious question to me a couple of days ago which prompted this blog. He asked, “how do you prepare for a particular photographer?” To say the least, he stumped me.

Different photographers want different things and unless you know the photographer beforehand, or know what the project is going to be, you really don’t honestly know. Some photographers are very precise at how they want their models to pose. Some photographers are more organic at their approach and let the models pose for themselves and the photographer will look for the best possible angles. Some photographers want movement (be it hair, or body), and other photographers want you to pose like stone. It’s a crap shoot (pardon the pun), but if nothing else, you should always be prepared for anything which is the reason for this blog.

Models, how many times have you been booked for a particular designer, and you go online to look at their previous collections? That’s homework. How many times have you gone and actually studied a photographer’s website? Other than going to see if their work is “good or not?” Most of you haven’t. You normally just go to a photographer’s website to see if they are any good, and if they can give you "hot photos". This is also a time to study. What is the MODEL doing in that shot? What emotions are the model conveying. What kind of lighting is the photographer using to set a mood? How are the models groomed? This is very very very important.

Models, I cannot stress this enough, if time allows, always do your homework on who you are going to shoot with. When you go for a job interview you try to find out as much as you can about a company, it isn’t any different than studying a photographer’s work. Secondly, you should always be groomed at all times.

On more than one occasion, I have had models come through with unsightly body and facial hair (this is both male and female). Photographers HATE having to retouch hair that could’ve been taken care of in a quick shave, be it the lip line, the arm pit, the pubic area, jaw line/cheeks, or the back of the neck. Ladies, that pretty downy fluff that sprays across your cheek may look cute for your boyfriend, but if a photographer tries to back light you with that over the shoulder lighting, it comes across like Santa Claus. Males, if you are going to shave your torso, shave your arms and legs as well. Remember black models, hair on the body can photograph like dirt. How do you do your homework? If you go to a photographer’s website, look at the guys. Are they smooth? Hairy? Let that be your benchmark.

Deodorant. I cannot stress this enough as well. Gels everyone. Or sprays. Those blocky, chalky anti perspirant wreaks havoc on wardrobes as well as anything else that will require the model to bring their hand over their head and expose their armpits. Keep perfumes and colognes to an absolute minimum. 

Hands and feet. Manicures and pedicures are paramount. You have no idea what may be captured in an image. Gnarled nails, and bad finger nail polish are a no-no. Remember ladies: neutral colors, short to medium length. Most of us prefer clear polish, or the rudimentary ¼ inch French manicure (anything longer and it comes across like an extra on Jersey Shore).

Hair. Gentlemen always keep it neat. If you are prone to being photographed with facial hair, always have it photo ready. If you can’t then in your bag of tricks bring your shaving equipment, be it shaving cream or clippers. Same holds true for ladies. This means eyebrows as well (gentlemen a neat eyebrow is different than a “done” one). Take care of those pesky nose and ears as well. And ladies, if you are prone to doing beauty, a well established photographer will normally have a well established crew. We prefer to have a model with freshly washed hair and no products in it whatsoever. At the shoot all of that will be taken care of. What happens is, if your hair is dirty, or weighed down by products, the hairstylist can’t achieve their end results, because they are fighting the product that is already in your hair and you start gunking up their equipment. If you have dye jobs, make sure they are fresh, there is nothing more frustrating then Photoshopping in the correct color of the roots. If you have weaves and extensions, make sure they are shoot ready and that you have qualified people doing your hair (REAL hair is much more preferred). And speaking of extensions, if you have clip on hair pieces or wigs, throw them in your bag of tricks (same rule holds true, make sure they are clean). This helps the hairstylist out tremendously if you have thin hair and they may need to build a style.

Makeup. Come with your face free of makeup. Most times, a lot of models don’t know their true color foundation and “shoot” makeup is a hell of a lot different than “every day” makeup. If per chance you have the fortunate discovery of finding your true foundation, always have it available at a shoot. It lets the makeup artist know that you are serious about what you do and that you are well equipped. This goes for guys as well. And all models should know how to apply the fundamentals of makeup. Both male and females. Most important: Skin moisturizer and LIP BALM!!!! Toothpaste and floss are also good to have. If your eyes are never at their “whitest” Visine is always a must for every model’s bag.

Underwear. Always carry fresh underwear in your bag of tricks and possibly different kinds of underwear. You will be surprised how underwear will photograph under garments. This holds true for bras, panties, thongs, briefs, boxer briefs and so forth. Gentlemen you should always have clean socks (both white and black) and ladies you should always have a pair of stockings.

Now that you’ve come well equipped and you had a stellar shoot, one of the most important things is a simple thank you to all you’ve worked with on the crew. A successful photograph starts with a team of people to achieve a required result. If possible, get a business card from each person involved and send them a thank you follow up. You would be surprised at the results. Many times I am contacted about the usage of a model and more often than not I am recommending the model that gave a damn versus the model that I never spoke to again. I’ve asked models about a particular photograph in their portfolio and the worse thing a photographer can hear is: “I don’t remember the photographer’s name.” Ultimate NO-NO because that tells me that you didn’t give a damn about that person and the work they went through to create a beautiful image for your portfolio. So let’s recap, shall we? Things that should always be in a model’s :”bag of tricks”:

1. Clippers/razors/shaving equipment. This also means that you should have a towel, wash cloth and soap.
2. Deodorant should be clear.
3. Change of underwear, bra, socks, etc.
4. Simple pair of fitted black jeans and a pair of casual black shoes.
5. Hair products (clips, weaves, etc.).
6. Fingernail polish / remover (you may have to change your nail color while you are there). Fingernail clippers.
7. Makeup products and makeup remover as well as a good moisturizer and lip balm and Visine.
8. Don’t forget thank you.

I can guarantee you that this list may get a little longer as my colleagues bring items to my attention. I know it may seem like a pain in the ass, but there is nothing more beautiful than a well equipped model.

MY OBLIGATION TO MODELS - BUILDING CAREERS ONE PHOTOGRAPH AT A TIME

 
 Model:  Renee Thompson for Adha Zelma "Autumn" Collection

Hey you guys.  This has been a tremendous couple of months for me.  I’ve been so busy that I didn’t even get a chance to do a single blog for the month of October.  I vowed that I would at LEAST try to write a one blog a month.  The month of October has been a very busy one.  I shot an album cover for an upcoming artist (Ashley Carpenter).  I’ve shot Adha Zelma’s “Autumn” line with Toronto’s model Renee Thompson (I will be blogging more about it in the future).  I’ve shot for Heather B for their website.  I shot Saks Fifth Avenue Spa/Salon for their Facebook page.  The accessories editorial I’ve shot with the amazingly talented Robert Durant for Bleu Magazine has finally come out.  And I helped yet another model (Justin Shaw) get placed with an agency and he is going to make some noise, which is the reason for this blog.

When I first embarked on photography, my goal was very simple:  I wanted to learn how to operate a SLR to the best of my ability.  It didn’t matter if I was shooting a waterfall, a rock, a flower or a blade of grass.  My intentions were clear:  take the best possible photograph I could possibly take.  Now four years later, I am here transforming the lives of young models across the United States with photographs I never dreamed I would take, not to mention my images are now becoming recognizable.  I actually had someone call me and ask if I did a shot that appeared somewhere, I asked how did he know.  His reply?  “I know your work in a single glance.”  Wow.  That made my day.

But I digress.  As I was saying all I wanted to do was take good, technically sound, artistically compelling images.  As this journey set forth, what my plans may have been, the Universe saw it differently.  It was with my craft that I am able to open doors for models (especially models of color) and allow them access into places where before, no one would see them.  And I thank God for that talent for allowing me to do so.  I can’t photograph everyone that asks me (though I wish I could), but I will vow to do one thing:  I will shoot you (the model) to the best my ability and try to produce the most amazing image possible for you.  If you allow me to fall in love with you, I can promise you stellar photographs.  If you allow yourself to trust me, I will be able to teach you to reach down into the recesses of your soul and make you a better model.

Is that my job?  No.  My job is to become a successful campaign photographer.  But right now, my oath is to help you to the best of my ability with the talent that God has allowed me to developed. 

This is my oath to you.


Model:  Kortney Williams for Bleu Magazine


Singer:  Ashley Carpenter for Walking into Sunshine


Model:  Justin Shaw for NTA 


Model:  Angelique Velez for Adha Zelma "5" Collection

IT TAKES A SUCCESSFUL TEAM TO BUILD A SUCCESSFUL MODEL

Brandon Lucas

Most often when people read my blog, it’s usually industry insiders who have knowledge about the business. So most often, I am just voicing opinions and concerns from fellow photographers (and others). I tend to give voice to the frustrations that we go through in everyday life, but today’s blog (the third one in two days) is honestly geared to those outside of the industry. It is for the people who really have no knowledge as to what it takes for a signing of a model to take place.

When a person (and when I use this term it will mean someone not affiliated with the industry) sees a billboard, a magazine campaign, etc. They are seeing the finished image to sell a product. They have no idea what it actually takes to get that image to the point that it is a giant billboard in Times Square.

People involved (in no particular order)
Model
Casting Director
Art Director
Location Scout
Studio Heads
Designers
Tailors
Seamstresses
Fit Models
Artists
Sketchers
Investors
Model Scout
Agent
Booker
Corporate Entity
Textile Firms
Studio Booker
Caterer
Hair
Makeup
Stylist
Photographer
Photographer's Agent
Payroll
Lawyers
Security
Camera Rental
Light Rental
Insurance
Camera Crew
Video Crew
Retoucher
Advertising Firm
Advertising Executive
Graphics Department
Printing Company
Billboard Company
Dermatologist
Dentist
Personal Trainer
Landlord (who owns the billboard)
Fashion Bloggers (who talk about the model)
Maintenance Crew (to put up the sign)
Lighting company (to light the sign)

And all of this is done in order to place a SINGLE SOLITARY IMAGE in Times Square. And all you see is the wonderful iconic photo in place. Each and every job title is a tiny, microscopic and important piece in the puzzle that is needed in order to make all of this happen. Remove any of the puzzle that is listed above and guess what? It won’t happen. I know it may come across a little melodramatic, but there is a hell of a lot that goes on in order to make an actual campaign happen.

But even before we get the model on the billboard, it all starts with getting a model signed and it all starts with the scouting. In this instance, the scout involved is California’s own Michael Maddox. He scouts models and instills in them the idea of being a model. If the “model” takes the bait, it is now Michael’s job to start to groom them. He educates them on what it takes to be a successful model. He may have to take interest in their grooming, in their oral hygiene, in their personal appearance. He may tell a model that they may need to lose weight, gain weight, put on muscle, how to walk, how to talk, take care of their skin, teeth, eyes, hair, etc. No one is walking out like Naomi Campbell right out the box. This may take MONTHS for him to prepare. Michael will then take digital polaroids and start creating a buzz about the model. After the model starts to develop into something he can then see which agency will be the best suit for the model (here comes the behind-the-scene discussions). Michael will go to the firing squad with top agencies around the United States and Europe. A particular model may not have the look for a particular area (California has a different “look” than New York, or Florida). If a model has to relocate, Michael will then start developing connections for the model in the foreseeable future if the model has to move. Michael will assist in housing, in job placement and in making professional connections in order that it is a smooth transition for a model. Now it is time to build a model’s portfolio and this is where I come into the picture.

Michael will send me candid snap shots of the model. He will ask me what I think. How the model should be shot, etc. After that is determined, if the model is not from New York, arrangements are made in order for the model to get here. In order to get more “bang for the buck” through Michael’s connections (or mine), we arrange other photoshoots with other established photographers while the model is here. In the interim we also try to set up appointments with various agencies. If the New York agencies are interested, I then make connections with them to show them finished images from the various shoot(s) that have been arranged.

I arrange photoshoots by pulling together teams of people (other photographers, stylists, makeup artists, locations, etc.) so when the model goes back to their place or origin, their book is complete and they are ready to walk in the door.

After all the photoshoots have been completed and Michael has received all the photographs, he meets with the model yet once again to now build their books (building of a book means putting their portfolio together to present to the agencies). While all this is going on, Michael is back to contacting the agencies with finished images of the model. He will even give the nay-sayers another call, because sometimes they don’t “see it” the first time and now 3-6 months may have passed and now they may see things differently. Michael may arrange a model to get with more than one agency for various reasons but in the end, if all is successful, and the model gets signed, then we all did our job.

It is a proven formula and it works every single time. So remember models:  It takes time and patience and it takes a successful team to make a successful model.

TO BE SUCCESSFUL - YOU MUST BE ON AT ALL TIMES

Terrance Gant


Don't get excited.  Please.  It won't happen again.  Two blogs in the same month?  Not to mention in the same day?  It will go down in history!  There has been a lot of issues that have been popping up lately and instead of just writing one long continous blog, it was far easier to break them down into separate blogs.

One question I am asked constantly:  "When will we shoot again?" 

There are two types of photographers out there. There is one that actually likes to build a “stable” of models in which they like to shoot from. They develop connections with models and because of it, photographers are able to express themselves artistically with a particular model, whereas with other models they cannot. They are very monogamous. Then you have the second type of photographer. They rarely like to reshoot models. Usually if they’ve gotten that awe inspiring image, they really don’t go back and revisit. The will usually move onto the next model and produce more magic. I tend to fall in the latter group. I cannot speak for other photographers, but the reason I do it is because I am constantly building my book and it is an ongoing process. Every shoot that is worthy, I present to my agent. I don’t need him saying to me; “you shot this model already, why are you shooting them again?” Unfortunately I cannot have an entire book of 2-3 models.

There are instances where I will revisit a model. I have a few projects pending that may require their look (for either my coffee table series, or exhibit series). There have been times where I’ve been hired for a particular job and the client liked the work I did with the model and wished to use them, but other than that, I am sorry to say I am a photographic whore and once the model and I have achieved what I like to call “hotness”. I move on to create more hotness (with another model, of course).

But there is another side to this coin, and that is the side of the model. I find that once a model has found the photographer that was able to actually capture them, they tend to want to work with that photographer repeatedly. This has its plus and minuses. A model develops a level of comfort with a particular photographer and they produce stellar images. Time and time again, and the more they work with a photographer, sometimes the better the images get. The downside? They will only work well with a particular photographer, hence the reason for this blog.

One of the ultimate goals of a model is to get signed with a professional modeling agency, and once they are signed, they want to start making money with this agency. If you are not one of the few fortunate ones who can walk into the door and wow the agency strictly on your looks, you have to build some type of portfolio. They (the agent) want to see how you photograph, how you look in images and are you a marketable product. So you stroll up there with your book of great photos (albeit coming from just one or two photographers) and they like the magic that they see. Guess what they’re going to do? They are going to send you on a slew of tests to fill up your book with images of other photographers. Herein lies the issue.

A lot of models (especially new faces) are very very comfortable with me. I take the time and patience that is needed for them to grow and develop as a model (not all photographers will do this, or have the patience to want to do it). Most often a single modeling session with me can be as long as 6-7 hours (especially if Boot Camp is involved), because I am teaching the understanding of light as it pertains to the model. I am teaching expression. I am teaching emotion. I am teaching head to toe posing. I do it not for the money, but for the love of the science, and for the growth of the model and my desire for them to succeed into greatness. In the end I want the model to leave my studio with a sense of purpose and a bit of know-how that I want them to take with them on their next photo session. If you ask any model I have shot, I am known to say “from this point onward, whenever ANYONE points a camera at you, TURN IT ON. I don’t care WHO it is. I don’t care WHERE YOU ARE. YOU ARE A MODEL AT ALL TIMES.”

Remember that:  You are a model at all times.  Therefoer, you must be on at all times (especially at a photoshoot). You will not have the luxury of Dallas Logan at all your future shoots.  Do not rest on your laurels because you had one or two photoshoots with the same photographer and got good results. Whatever feelings, emotions, energy that was needed to create those magical images with that one particular photographer, remember that energy and take it to every single shoot you go to.

I’ve seen countless books from models and you can go through the images and know when and where the magical connections were made. I would look at model’s books after they have shot with me and INSTANTLY be able to tell if they used our Boot Camp lessons. Sometimes they do, sometimes they don’t. Trust and believe, if you don’t raise the bar at every single photoshoot, you will come across boring and one dimensional. And guess what happens next?

You are no longer signed. Think about it.

WHO ARE YOU MODELING FOR?

Model:  Renee Thompson

There will come a time in your modeling career where you will be asked to pose nude.  Artistically, editorially, commercially or otherwise.  Remember that.  Kate Moss, Tyson Beckford, Naomi Campbell, Christy Turlington, Cindy Crawford, Djimon Hudson and countless others have all done it in the course of their careers.  Do you think it is going to be any different for you? 

I don’t know if other photographers go through this, but I’ve been having this particular incident happen recently and it prompted me to really sit back and take a look at how things are going.

A lot of models fail to realize that a photoshoot is a complete collaborative effort of all parties involved. Once they leave the studio, the true work of the photographer at that point begins. Forget the planning of the shoot. Forget the set up and break down of the shoot. Forget the actual shoot.  Forget the time needed to proof the shoot. Forget the time needed for editing the shoot. The model has gone along on his/her merry way to their next venture and they sit there and wait for photos, while we, the photographers, slave away at creating photographic images that we all can be proud of.

For those of you who follow my work, you know I do a lot of nude work. Some full nudity, some sexually driven, most of it artistically implied. I’ve been approached by galleries and even a couple of museums to do complete series for them which are in the works. It is a slow process, because when a particular vision first takes hold, I personally do not have “exhibits” in mind. I just want to produce the best possible photograph I can produce with the model of the moment. Then what happens is, the photograph will take on a life of its own and next thing you know, I am getting an email from a man named Gustav in a country that I can’t pronounce, much less locate on a map.

But I digress. When I (I should say we) decide to shoot nude work, it is never with the intentions of shooting nudes. It is usually a comfort level that is developed between model and me and at that precise moment, we are in a collaborative vortex that takes us down a path of personal exploration. They allow me to push their boundaries and I allow them to be comfortable with themselves to explore things that they may have never thought otherwise. Sometimes it’s a simple as me saying “the jeans ruin the shot.” More often then not, it is the model’s doing to remove their garments and once they do, they are much more free to explore their inhibitions and we in turn produce beautiful images.

Let’s fast forward. You (the model) know people know me. You know people follow my work. If you say that you are shooting with Dallas, people are expecting to see images. So why is it such a pain in the ass when I produce such images, and post them (not even nudes per se, but let’s say the images that posted at the top this blog), you get freaked out because you don’t want others to see it? Can someone explain that to me?

On more than one occasion, I’ve posted such images on let’s say Facebook, only to get hit with the email of “can you please not tag me on that image, I don’t want my family to see it.” What? Why? Don’t they know that you are model? Don’t they know there will be times when you will be taking photographs of an artistic nature? Are you embarrassed of such things? If so, then why the fuck did you get undressed in the first place?

If you were David Agbodji would you have gone to Steven Klein when he shot for Calvin Klein and say “oh no, Steve, please don’t put that anywhere, I don’t want my friends to see it.” What if Naomi Campbell said that to Herb Ritts or Demi Moore said that to Annie Lebowitz? Or Kate Moss said that to Mario Testino? They and countless others produced beautiful, iconic images showcasing the human form for the world to see. So if you ever going to be embarrassed, guess what? Don’t model. It's just that simple.  I understand the erected penis and the spread labia images are not for everyone’s artistic taste, but this isn’t want I am talking about and I get that. But there comes a time in your adult life that you have to take a stand for your career and say I am doing this and I am proud. You may never know who will see that image and go “I want to book that model. He/she is beautiful.” Trust me, I get that a lot.

I am proud of the work that I do with models (clothing or otherwise). I am proud when I am approached by art buyers and curators because they see the artistry I see. I am proud when a model allows their inhibitions to be release and they can be themselves so we can take stunning photographs. What I am not proud of is when I must stifle my creativity because of their reticence.

So think about it. Who are you modeling for?

CHALLENGE US - MAKE US RISE TO THE OCCASION

Harvey "Zenith" Pimental

Models, models, models… Here I am, again, writing another blog, again. About something that is bothering me, again. That I should school you on... again. (Okay, enough with the “agains”). As I’ve stated before, when something – for lack of a better word – disturbing – happens in my tiny microcosmos, it prompts me to write about it and like some of my other blogs, this one was a long time in the making.

In my photographic career, I’ve seen models clamoring to shoot with this photographer, shoot with that photographer, for whatever reason. It could be because they really admire the photographer’s work, it could be because that particular photographer will catapult their career to the next level, or it could simply be to have bragging rights. “Yes, I’ve shot with so and so.”

I’ve had a multitude of models wanting to shoot with me for years. I’ve gotten inundated with emails of “God, I love your work. I want to work with you,” “You are one of my dream photographers,” “when I come to New York, you are the first on my list!” And this is an ongoing litany. For the most part I am flattered, just like my colleagues are flattered when they receive similar emails. I realize as of late, photographers have a lot of power and in some instances we are like rock stars to the modeling community. But there comes a time in a model’s career that they need to sit back and look at us objectively in terms of what a photographer can really do for their career, and not be blinded by the “Oh My God” status that you’ve placed on us. You should say to yourself: “can this photographer help my career?”

Photography like any other is a business. However, this business for the most part is our artistry and we shoot with passion and love. When others admire the love and beauty that we put forth, it puts a smile on our face. When we take what we like to call our “defining shots” is when we take photographs that no matter what we do in the future, these images will always, always be remembered.

For example:


Photographer:  Maya Guez
Model: Porter



Photographer:  Tarrice Love
Model:  Art Stroman


Photographer:  Rick Day
Model:  Unknown


Photographer:  Dallas J. Logan
Model:  Catherine Frances Scott


Photographer:  Laretta Houston
Model:  (It's A Secret)


Photograher:  Bruce Talbot
Model:  Layaria

Photographer:  William Springfield
Models:  Naija Nne and Kiersten Alexandria


Photographer:  Jerris Madison
Model:  Eva Pigford


Photographer:  Gregory Prescott
Model:  Ambrielle Webb


Photographer:  Stephen Eastwood
Model:  Maria

The above images are indisputable and will forever be acquainted with the photographer that has taken them. When we photographed these images, they are a magical moment in time. Yes, we’ve produced stellar images before and after, however, these images will forever be burned into the psyche of photographic history.

But I digress. This blog today is about the models that seek out our photographic skills and will do anything to achieve a photoshoot with us, even to the point of accepting mediocre, repetitive and mundane work. And the reason this weighs so heavily on my head is because a couple of instances happened this week that made me sit back and take notice.

A celebrity photographer of campaign magnitude recently did a test shoot of a model. Without giving any names, this particular photographer shot campaigns for Revlon, Nine West, etc. as well as celebrities such as Jessica Alba and Halle Berry. So when you are shooting campaigns and celebrities of this status, it raises the bar substantially.  The model was wanted to work with this photographer and it seemed that the feelings were mutual, however, when the photos were produced, the model sent me the link and asked me for my professional opinion. While I don’t like talking negatively about another artist’s work, the images themselves were lackluster, boring and downright bad for a person of this calibre. They did nothing to show case the model, hell they did nothing to show case the photographer’s talents. In fact, they were so poorly done, it forced me to go back to the photographer’s website to see well maybe something is wrong and I am associating this person’s work to another’s name. No, alas, the same photographer, same great name, less than stellar work. I repeatedly looked at the images trying to find something, anything that would’ve made this shoot salvageable. Nothing. In essence, this shoot was a waste of the model’s time.  Did the model deserve a $50,000 campaign shoot? Of course not, however, he (the model) did deserve images he could at least be proud of - and use.

Second incident. A model recently posted images on Facebook with a well known, well loved and well established New York photographer. He was proud.  I know he was.  He was so proud that he sent me an email blast to say “Hey Look at my new photos, what do you think?” I sat there and looked at the images, which were indeed lovely. Great lighting, great composition, great post production, however, I’ve seen this same image from the same photographer, not once, not twice, but literally over twenty some odd times, so the image for all its merit is now boring, dull and uneventful. This wasn’t the first time that I have seen the two above scenarios happen, but to happen days apart from each other, it bothered me enough to want to address this.

I remember I had an incident where a model came to me seeking images that I shot before. He loved what I did with another model and wanted a very similar shoot (almost exact). Though it was against my better judgment, the model demanded this and he had his money. I shot what was asked. As soon as the images were posted, my dear friend Michael Maddox slammed me with an epiphany.

“Dallas,” he says. “You did not do that model justice, because you shot that before. You shot the same exact thing with so and so and now the original images that made so and so unique is no longer special and dear to him. Because you shot this model the same exact way, he in turns has nothing that makes him special and unique.”

“But Michael,” I retorted. “This is what he wanted. He paid for this.”

“I don’t care," he replied. "You should’ve said to him; ‘I can’t do that for you. That was for him, however, I will do something special and unique for you.’ That should’ve been your response, these models get so caught up in wanting to shoot with you that they turn around and lose their identity and in turn you lose your edge because you are repeating what you did before. So now you don’t look fresh and new. You did the model a grave disservice. Make each and every model special and unique in their own right. ”

And you know what? He was right. The model had a preconceived notion of what he wanted the images to look like. He was hell bent on shooting with me, and he wanted the same exact images and even though deep down inside it was against my better judgment, I did what he wanted. Were the photos nice? Yes. Were they well received? Yes. Did it raise the bar for him? Yes. Were they fresh and original? No. Did I do us both a disservice? I reluctantly have got to say yes.

Models, this message is strictly for you. We photographers are very set in our ways. We usually work out of the same space time and time again and what happens is, our own work begins to take on similarities. This is not to be confused with a style. I have a particular photographic style, so when you see it, you know immediately it is a Dallas Logan image, the same holds true for each of the artists listed above. But that is different than producing the same work over and over and over again and that is what you should try to avoid. A photoshoot is a collaborative effort between all parties involved (most importantly between the model and the photographer) and if you don’t push at us to give you something more vibrant, dynamic and different, you won’t get it. It can be something as simple as changing a lighting set up, to changing a location. It can be as simple as saying, "please try something different with me."  Remember, models, this is about your career, and these images are to be used to your advantage and if you have lack luster, repetitive images in your book, who’s to blame… You or me?

Think about it.

SELF SABOTAGE - WHAT MODELS DO BEST

sab•o•tage   [sab-uh-tahzh, sab-uh-tahzh]

–verb (used with object)

1. to injure or attack by sabotage.

2. to disable, vandalize, cripple.

Throughout our lives (and this can take place in any walk of life), we as human beings want better things in our lives. Better health. Better finances. Better relationships. Better careers, etc. In order for anything to advance in a positive direction (or in the direction that you want it to go), you have to work at it. You have to nurture it and you have to make it grow, develop and mature to what you wish to have manifested as your ultimate goal.

When you were in high school and college, if you wanted good grades, you would study hard. If you wanted to excel in a particular sport, you would practice. If you wanted to excel in the arts, you would rehearse. It was just that simple. When I decided to make a conscious effort to be a professional photographer, what did I do? I kept shooting. I kept studying. I kept learning. I kept growing. (I am still growing).  I remember looking at a video clip featuring Atlanta’s own Laretta Houston (http://www.larettahouston.com/) and she said something that struck home. "You have to practice. You have to keep developing your skills." She would sit at Barnes & Noble and read every single book pertaining to photography, retouching, etc. (and I thought I was the only crazy one). But as you can see, the bottom line is this: Anything you want, you have to work for it, you have to seek guidance from others in your field and then only can you excel in most cases.   You can't keep shooting the same thing over and over and over again, year after year after year. 

What if you don’t want those things? What if you don’t wish to excel in your decided career paths? What if you just want to settle for mediocrity? What do you do? It’s easy; Sabotage it. It is just that simple, hence the reason for this blog. For example, you hate your job, but you don’t have the guts to quit? Sabotage it. Do a lackluster job performance, come in late – hell don’t come in at all. Watch what happens.

Time and time again, I’ve come across model hopefuls that wish to excel in the field of modeling and all the time I am constantly asked “what do I have to do to make it to the ‘next level’? What do I have to do to excel? What do I have to do to be better at my craft?” I know if I am asked this question, my professional colleagues are asked the same damn thing. I get this question on an average of approximately five times a day. Most times when a model asks me this, I have to look at their track record, their body of work and their person in order to make an educated suggestion. Sometimes it is not as simple as saying “lose weight” or “take care of your skin.” I wish it was that easy. Sometimes it’s telling a model to make better choices in who they decide to shoot with. Sometimes it’s telling a model to be patient and slow down and stop making bad decisions. Sometimes it's telling a model not to forget where they've come from and whose guided them along the way.  Sometimes its telling a model to stop going against the grain and realize that professional decisions are made for their own good (not every model is a Gucci model).  Sometimes it's teaching a model how to build long term relationships.  Sometimes it's telling a model to stop sabotaging the people who've helped you along the way (see Marcus Hill and Anthony Gallo - they listened).  Sometimes it’s a simple as telling a model “you need to cut your hair.” Bottom line is a lot of hindrances a model goes through is because they are doing things to themselves and they are impeding their own advancement, because they just don’t want to listen. So when you don’t listen and don’t take the much needed suggestions given to you, guess what? You are sabotaging your own career.  Hence the title of this blog.

I’ve come across sooooooo many models that would be a lot further along in their career if they would just heed the advice of not necessarily me, per se (hell I’m just a photographer), but to take the advice of noted and well established professionals. There has been more than one occasion when a model would ask me for advice and I would give it to them, I would get the bombardment of:  “I can’t do that.” “I’m not cutting my hair.” “I’m not losing weight.” “I’m not changing my style.” “I don’t want to wear that to a casting, it will make me look gay.” “I want to keep my cornrows.” “I think I look sexy in a beard.” Oh really? If that is the case, then why the fuck aren’t you an established model? All the above remarks are actual retorts that I have received from models who are at a point in their career decided that they weren't going anywhere and wanted to know why. When things are repeatedly brought to their attention, they don’t want to listen, therefore, they are stuck in a particular rut and they don’t know why (well maybe they do know why, but they are being to damn stubborn to admit to it).

There was a male model of color I shot a few years back from Philadelphia. He is a very handsome man. His down fall? Too burly and too much hair. He was getting local work (church fashion shows and neighborhood mall work), however, he was shooting with third-tier local photographers and this really wasn't advancing his career. When he approached me about photographing him, my first response to him was “you got to cut that hair.” You would’ve thought I told him to cut his throat. His hair, though beautiful, was an incredible hindrance to his career advancement. Not many male models have that certain jene-se-quois to carry off a head full of hair. Some models have that magic (Google:  Paulo Pascoal), however, most males just don’t have it. When you deal with a head full of hair (especially on a model of color), you limit yourselves to the types of job that you can possibly book, and it gets even WORSE if your long hair is dated (see: dreadlocks). Nobody is looking to book you. If you want to get more work, take heed, do the necessary modifications that will need to be done in order for you to advance.

Needless to say, he bitched and complained about wanting to keep his hair, and I replied: “Don’t waste my time. You have no idea just how beautiful you are, because your features are being hidden behind a shit load of hair.” Usually when a male model has a head full of hair, it usually comes from some girl telling him that shit is cute. Yeah, it may be cute for hanging out around the way, and possibly being booked as an extra on a hip-hop video, and if you’re lucky, you may book a Jimmy Jazz advertisement, but in the mainstream fashion/modeling world, that usually doesn’t fly. So gentlemen, (and some ladies can use a major makeover hairstyle as well), if a professional in the field is giving you suggestions, take heed. It will really help in the long run. In some instances, the hair just may work. Whose to say? Ask a few professionals. If the general consensus is to change something, that should be telling you to make that change.

To make a long story short, the model did cut his hair. And once he did, people began to take notice. He began to look more like a model. We had our shoot, and people began to realize just how good looking he really was and he started to get picked up by better photographers and started picking up better gigs. He actually cut off two pounds of useless hair. He thanked me.

So ask the professionals. See what they have to say. Take notes. Listen. Actually listen and open up your mind. Take control of your careers and stop sabotaging it. You will thank the professional (and yourself) in the long run.

So ask yourself. Are you sabotaging you own career? Think about it.