With a direct booking, a model is booked based solely on the photographs
in her portfolio. Normally, however, a photo shoot is preceded by a go-see
or casting. Fashion brands make a short list of models they would like to
meet in person. No two castings are the same: sometimes they can be
incredibly uncomfortable and feel more like a meat auction than a simple
‘interview’, other times there is an instantaneous click.
There was one casting on a deserted industrial lot in thirty degree
weather- with me holding a piece of chocolate that I had to look at
provocatively and unwaveringly while it melted in my hand – that never led
to a job. The best casting I ever experienced, for a national commercial,
never even involved an interview, just a conversation with the director. He
talked about the script, the division of roles, the location and the team.
I listened attentively and, at one point he made me laugh, then proceeded
to confuse me, and all the while the camera – which was trained on my face
– kept rolling. After ten minutes, the casting was over and he had enough
material for a good impression of me. A few days later I received a phone
call telling me that I had been chosen to be one of the extras in the
Lipton Ice Tea commercial. Most models hate castings, but this is can be a
great way to cast talent.
Beautiful or representative not always enough
Magazines and fashion brands usually work with models that are slightly
younger than their target demographic. This can sometimes lead to
criticism, but it is simply the way things work. Were you to adapt the
models to the demographic, chances are that the average age would move up
as well. For some jobs it simply isn’t enough for a model to be beautiful
or representative of the brand. Fashion labels are naturally often so
focused on finding the right type that they sometimes miss the important
details. Such was the case when the model on a look book-shoot told the
stylist, who had borrowed a beautiful pair of earrings from a PR-agency,
that she didn’t have pierced ears. My own first assignment was a bit of
challenge: we were doing a shoot for Jägermeister in an indoor skating
rink. No one had thought to ask me if I could skate. Luckily, we had
enjoyed a few good winters in my childhood and I had taken lessons one
season, so after a few practice rounds I was fairly capable of keeping my
balance, posing for the camera while sipping at an ice-cold glass of the
liqueur. At 10 in the morning. My male colleague had less experience on
skates and stood next to me on wobbly legs. The client solved the problem
by giving him a wooden chair, which he could hold onto, and by having us
skate together hand-in-hand, which looked particularly cozy. It is,
however, important for modeling agencies to know whether their models can
dance, ski, play tennis and any other skills that might come into play.
The models as extra pair of eyes
A good breakfast is essential before a photo shoot. Not the
stereotypical handful of grapes or cracker, but a solid breakfast of
sandwiches or a bowl of full-fat yoghurt with fruit and muesli. There is
nothing worse than arriving on set with low energy and a growling stomach,
with a long day ahead during which you constantly have to perform. A
model’s input is not always required during a photo shoot. Sometimes,
everything from the location of your poses to what you have in your hands
or how you look has already been stipulated in advance. The challenge is to
perfectly recreate what the client has in mind. Sometimes, that rigid
mindset is necessary. In all other cases, my experiences have taught me
that you get the best results when you ask for the model’s input. For
example, if the model isn’t comfortable with a certain pose, that usually
shines through in the photo. I can’t count the times I have relaxed back
into a more comfortable position in between shots and had the photographer
call out: “Hold that pose, that looks great?” It also pays to let the model
take a look at the screen to find the right pose. People are naturally
critical when they see a picture of themselves. Where the stylist will
focus mostly on the clothes, the model will cast a critical eye on herself.
Who knows, she might notice something worth changing.
Photo shoots on location are an inspiring alternative to studio shoots.
You get to visit exceptional places in the city or in the outdoors. The
only downside is the cold: getting changed outside in a freezing Northern
wind or doing a shoot in a fantastic but unheated industrial shipping
warehouse don’t make for the most pleasant experiences. The changes in
temperature – outfit on, outfit off – are particularly rough. You usually
forget the discomfort quite quickly, and the picture rarely reflects the
conditions. The emphasis is on ‘usually’, because proper preparation is
particularly important for a location shoot. This I found out when on a
shoot with fickle weather on Sardinia. As soon as a cloud moved in front of
the sun, preventing us from continuing the sort, the stylist would appear
with a big blanket to wrap me in so that I wouldn’t get cold. Her
attentiveness did not just benefit me. Sometimes you see models in
magazines covered in goose bumps. Not a pretty sight, unless the
photographer is making an artistic statement. So, if you are a model or
fashion brand, always bring a robe or woolen blanket with you when
attending a lingerie- or outdoor shoot to prevent this. Of course, it’s
impossible to prepare yourself for every possible situation and sometimes
you have to improvise. For example, in a pinch, a hairdryer might be used
as a wind machine.
Fun and responsibility
To avoid the cold, many photo shoots take place abroad. This is what
makes modeling so diverse: you get to visit the most beautiful locations.
Because, let’s face it, when summer fashion needs to be photographed in
February, there is no other recourse than to visit a sunny destination. Not
exactly a hardship. However, as a model (or photographer, stylist, make-up
artist), it is important never to forget that you are doing a job. I was
once flown to Curacao for a German catalogue. The day I arrived was my
client’s (the graphic designer who was representing the company on the
trip) birthday. A party bus picked up the entire team at the hotel that
night as a surprise. We crossed the island in that old schoolbus, windows
wide open, music pumping, decorated with graffiti, a cooler filled with
cans of beer on board. That was my first impression of Willemstad. It was
typical of the mentality of many fashion companies, particularly the German
teams I had worked with: work hard, play hard. I was very much aware,
however, that I would have to arrive on set the next morning ready for
action. My alarm clock was set for 5 am, ready for hair and make-up. At
times like these, you have the responsibility to limit your alcohol intake
and get to bed on time.
Your responsibilities also extend to day-time activities, although a
jaunt like this can feel like a mini-holiday. During a booking of a few
days, a day off might be part of the itinerary. On a tropical island the
lure of a day on the beach is obviously great, but sunburn is disastrous
for a model: red skin is hard to mask with make-up. Photo shopping is
time-consuming and therefore expensive. So, always bring sunscreen and a
big hat to a booking abroad. Also beware of shoulder straps – you might
have to wear a strapless dress for the photo shoot – and jewelry can also
leave undesirable marks. That is the reason why I went years without
wearing a watch. These days, I alternate wrists. When it comes to a
professional attitude, remember: it’s all in the details.
Natasja Admiraal is a freelance fashion journalist, who has worked
for FashionUnited since 2008, and also writes about related subjects such
as jewellery and design. You might also find Natasja gracing the cover of a
magazine: she has been working as a model for the past ten years.
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Next time: Part IV – The do’s and don’ts during a fashion
show
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