Secrets of Magazine Model Photography

This setup shows you how to photograph a model with a main and a key light behind the model. We also use a scrim to reduce harsh shadows from a skylight above the model. There is also a lot of cool posing ideas to make your model look the best with the lighting we have setup.

This setup explains how to isolate the model from a very busy background and shows different results from different techniques used. You can see from this module the difference between no background light, a white light, and a colored gel light. Watch the model pop out of the photo as you improve your lighting setup.

This setup shows how to use a light meter to measure light. We also show you how and why to change the light intensity simply by looking at the camera LCD screen to evaluate the photo. We talk about posing your model and positioning the lighting.

Each magazine photoshoot needs at least two DPS options. We explain how to shoot a DPS for editing and magazine presentation. The use of colored gels and composition allow the models to pop out of the photos and leaves space for text for the feature title.

In this scene we demonstrate lighting your model outside in very harsh lighting conditions. We are shooting a DPS option for the opening double page section of a magazine feature. We also discuss the intricacies of posing the model in these harsh lighting conditions at the beach in the middle of the day and what to look out for. We use the Angle Finder C here too.

We are shooting a second DPS option here to give the magazine editor choice between DPS options. This sections discusses posing the model, avoiding squinting and the general feel of the photo. We also highlight the importance of good communication with your model.

We decided to shoot one more DPS using a different lighting setup. Facial expression and body posing is explained. The small details make the big picture. It is interesting to watch this video and the communication between the model and the photographer.

In this scene we show you how to pose the model for a single page scene (portrait). We discuss the requirements for the magazines and demonstrate the use of a scrim.

It is very important to provide the editor with some variety of posing. In this scene we have our model on her knees arching to really accentuate her curves. We are using a rim light for a different effect and look to the photo. We also discuss the limitations of equipment and process required. The scene also shows how we communicate with the models and demonstrates the communication required to get the perfect shot.

We discuss the scene we are shooting and preparing the model. The day was overcast so we show you the best way to shoot in that kind of weather. We are discussing the first DPS in this scene. This was a challenging day to shoot as the light continually changed.

This is the first DPS option with Fran. Fran has not done many shoots so we discuss the scene we are shooting and talk Fran through her posing. The key to getting a good shot is to communicate with your model. This is demonstrated in this section.

We explain why and how to use a Scrim. Again, communication is critical and we demonstrate here how to speak to the model and how to guide and encourage the model. This scene is a DPS scene.

In this scene we talk to the model, a lot! It is very important to communicate with your model and always keep an open dialogue. Different posing techniques are explored here too. What do magazines like and why? Detailed posing of the model. We shoot another single scene here and explain why and how to set up a single page scene. If you give the editors lots of room to edit the photos they will favour your when considering submissions.

We discuss shooting the model and positioning the lighting in a single scene. We use the scrim here to diffuse the light. Posing the model and curves are explained.

We asked our model Emma to stay still for an hour for our time lapse feature. Here is the start to end of the Hair & Makeup process, which is critical to the success of your photoshoot.

For our first section we walk around and discuss the scene and the lighting placement.

Interacting with your model. Making sure that she feels comfortable in front of the camera and in her environment. We discuss styling your shoot for the look you are going for. Lots of great posing tips for your models.

Shooting a cover shot, also known as a Hero shot. Setting up for a pure white background with really edgy lighting on your model.

Assessing your environment and mixing up your shoot. It's always good to produce different looks and shots for your clients. We also shoot some natural light (from hot lights).

Shooting Emma with a bounced light from the roof. This is a natural light scene and shows how different lighting positions result in a totally different look. There is a lot of model instruction and interaction in this scene. A great demonstration of working with and instructing your model.

Our good friends at Sun Studios were kind enough to give us a studio for the day. This is our favourite shopping venue with the Pro Shop and of course one of our favourite destinations for photography. They have a rental section so any gear you need is available.

Part of the shooting process with models under 18 is getting the family involved every step of the way. Emma is sixteen in these shots so her mother came along. Any issues down the track can be avoided as the mother was there the whole time. It’s interesting to listen to the mothers thoughts on the shoot.

We speak to Kelly about Sun Studios. We discuss what Sun Studios can offer the professional photographer to get the most out of their shoot in the Sun Studios complex.

Not everything goes according to plan. We had a lot of fun and a stack of laughs making this training course. Here are just a few of the out takes from over four months of filming.

In conclusion, we go through the core principals of the training course. We are sure you enjoyed our course and please contact us with any further questions.

See whats coming next.. you are going to love our next shoot. We take an old World War II biplane out for a shoot. Fantastic dynamic footage and some great imagery coming soon.