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Our Glamorous cover model is: Belle. Belle’s, photography is supplied by Ronin Photography & Design.

However, whether you choose to lay out in the sun or go to a salon for your tan, you are subjecting your body to harmful UV rays that can cause not only cancer, but unsightly sunspots, age spots, and cause your skin to wrinkle and age ahead of its time. Thankfully, there has been a marked improvement in self-tan lotions, and the streaking and pumpkin look that you do not like is outdated.

The technology used today has improved dramatically and has led to superior products that are all natural, leaving your skin not only toned and browned, but also moisturized and healthy. This is a huge step in the right direction, as you know how the sun can dry out your skin. To get the most out of your self-tan lotion, you should start with an all over body exfoliation.

With natural exfoliants, you can gently sweep your dead skin cells off of your body, leaving it soft, smooth and glowing.  This will also help the lotion work at its peak, so when you apply it not only will your skin darken, but also it will be absolutely beautiful. Along with the exfoliation of your skin, the self-tan lotion will help address any skin moisture issues you may have, as it will increase your skin’s softness and suppleness as well.

What’s even better, it doesn’t matter what time of day you apply the lotion, it will not rub off onto your skin or your bedding, so you don’t have to worry about staining your linens. While self tan lotions are an excellent alternative to the sun and tanning beds, you can also purchase one that will accelerate your current tan, whether it is natural or from a lotion. Increase the darkness of your skin in one easy step, while maintaining the needed moisture level.

When you make the decision to protect your body from UV rays and try a self-tan lotion, you will see and feel an amazing difference.

About the Author

Try an amazing moisturizing experience with a beautiful color for your skin with Self Tan Lotions
Find All Best Articles at http://www.allbestarticles.com

Our Glamorous cover model is: Lindsey Danielle of Astoria, OR. To learn more about Holly, please visit her here: ModelMayhem site. Holly’s, photography is supplied by Ronin Photography & Design.

Features The Canon EOS T3i has some very attractive features: *Excellent image quality *Good grip *Swiveling LCD *Full HD video recording *HDMI output *Very fast autofocus.

Processor and Sensor There is a little new about the Canon EOS T3i’s processor and sensor combination. They are the same as that of the T2i. However, the gap between the micro-lenses has been reduced. According to Canon, the Rebel T3i’s DIGIC 4 buffer and processor enables capture of about 34 large/fine JPEG images, four RAW+JPEG frames and six RAW frames. It also allows capturing 14-bit RAW images, and 8-bit JPEGs are created from 14-bit data.

Peripheral illumination correction. Darkening of the corners produced by lens design is reduced via Peripheral Illumination Correction in the Canon EOS T3i. Selecting an item from the menu brings up a screen from where one can see which lens the camera detected, and whether correction data is available. One can then choose to disable the correction if the wrong lens is shown.

Metering. The Canon EOS T3i inherits Canon’s latest metering system. It is a 63-zone iFCL (Intelligent Focus, Color, and Luminance metering ) sensor. The iFCL chip has a dual-layer design with every layer sensitive towards different wavelengths of light, allowing required color to be taken into account when determining exposure and also in metering calculations.

ISO Expansion. The Canon EOS T3i has an expanded sensitivity range, from a minimum range of ISO 100 to a maximum range of ISO 12,800. One needs to enable ISO Expansion via a Custom Function setting. The EOS T3i offers a much wider +/-5.0EV exposure compensation range rather offering EV compensation ranging from -2.0 to +2.0 as do most cameras.

Picture Style Auto is a setting of its own, selected as one of the Picture Styles, which can be brought up either via the down arrow on its back or from the Quick menu, or even through the main menu. With this new setting, the camera considers the scene and changes the Picture Style accordingly. Storage and battery. The Canon T3i accepts SD, SDXC and SDHC memory cards as well as Eye-Fi wireless cards. The camera uses the LP-E8 battery pack which is CIPA rated for 440 shots.

Cons: frame rate is slow; No micro-focus adjustment; Tendency to over-expose in bright sunlight; Live View AF is slow.

The Canon EOS T3i shares the excellent image quality, creative filters and remote flash control. With Full HD video support, good quality optics and fast autofocus, the Canon EOS Rebel T3i is easy to recommend.

Discover the Canon EOS T3i Rebel. You will find that it has some amazing capabilities for an inexpensive digital SLR camera. The complete review is available at http://canonrebelt3i600d.com/.

To learn more about our gorgeous cover model; Paola, check out her interview here on GlamModelz Magazine. Paola’s cover photo was photographed by: Rick Trottier of RJT Images.

Tania and I spent the morning in the Los Angeles hills, shooting wardrobe provided by Dija Swiwmear.   And of course I couldn’t pass up the opportunity to interview her for GlamModelz Magazine.

Tania, how long have you been modeling and how did you get started with modeling?

I had my first photo-shoot over a year ago, but I’ve been a working model part-time for over six months.  I entered a modeling contest for Image Cosmetics and I was the winner.  Then Kim Kearney, who owns the make up line decided she wanted to represent me, so she got me started.

What do you feel are your best modeling assets?

I would say my hair, eyes and lips.  And personality-wise, that I’m humble and easy to work with.

Where do you see your modeling career headed one year from now?  Five years from now?

I am planning to go to the show Nuestra Belleza Latina next year, so in a year from now I see myself winning the crown.

5 years from now, I see myself up on billboards and TV shows and commercials, maybe in a movie, since I would love to do more acting.

If you could be on the cover of any magazine… what would that be?

Cosmopolitan or Glamour.

Have there been obstacles and issues that have slowed your modeling progress? And how do you deal with those?

Yes of course, there’s been a few obstacles along the road.  But nothing I couldn’t handle.  I deal with problems or bad days by always staying positive.  I am very optimistic, there’s a solution to everything except for death.

Tell us a little about your health and beauty routines to stay looking your best:

I do weight training four times a week.  I eat four healthy meals a day, with two snacks, lots of fruits and vegetables and a lot of water.

When you’re not modeling, what can we find you doing?

I have a 4 year old, so when I’m not modeling I’m usually spending my time with him.  Or you can find me shopping, or at the gym.

Any special message you’d like to pass along to your fans?

I’m very grateful for all the people who have been there supporting me with my modeling.  They keep me going, and motivate me to reach my dream of being a well known model/actress one day.

You can see more of Tania at the links below, as well as in my upcoming Summer Swimwear editorial  for the August issue of BeautyLook Magazine…

www.facebook.com/BelaTheModel

www.modelmayhem.com/1528100

Photography by Jim Jurica – www.JimJuricaPhotography.com

I’ve been on training courses and I’ve done quite a few different Events now, so this is to help others avoid some of the common mistakes. This guide to Event photography is based on my personal experience and you are welcome to reproduce it as long as you credit www.fullframeevents.co.uk or add a link to this page.

I do recommend anyone interested in Event photography going on the excellent training course supplied by Systems Insight, speak to Mike Orr , Stuart or Darren. I’ve also found the Event Photographers Society really useful.

It is divided into sections as follows:

1, Camera Equipment needed for Event Photographers;
2. Lighting equipment for Event Photography;
3. Printers for Instant Event Photos;
4. Mitsubishi Click system for Event Photography;
5. Green Screen Event Photography;
6. Starting an Event Photography Business.

1. Camera Equipment for Event Photographers.

You don’t NEED the latest high-end professional DSLR with pro glass lenses to shoot an event! It’s nice to have good kit but that should be a given for any Pro Photographer. In reality the customer at a football tournament, school prom or black tie event doesn’t care what kit you have as long as the results are good, and you don’t want to be carrying a heavy camera with fragile glass in an environment that is often boisterous and busy !

You don’t need to shoot huge resolution RAW files and won’t have time to post process or mess about with hundreds of settings.You are aiming to get a sharp, vibrant and well lit photograph of enough resolution to print at your final output size. Concentrate on making the people look great!

I do recommend a wireless workflow which I cover later, and again you need the files to be small enough to send quickly. I use a Nikon D700 but that’s only because I have one for Property photography as I need the full frame and low light capabilities
(see www.fullfamefotos.com for examples).

I shoot jpg at just medium resolution for most events, and use a Sigma 24-70mm HSM lens so I can quickly zoom between individuals and groups. A Nikon D40 with a kit lens will do just as well. and I always carry one as a backup. It also takes my Nikon flashguns and is much lighter than a D700.

It is important to have a backup camera, I’ve even made do with a Nikon Coolpix P6000 when my D700 was being used pitch side at a Cricket Event. With proper lighting (see lighting section) I got almost identical results shooting people in front of a green screen. You must have at least one fully charged spare battery for each camera at an event, a couple of spare and preformatted memory cards, and spare batteries for your flashguns. I use the new Duracell rechargeable for the flashguns as they stay charged in the bag.

So don’t go mad on the camera kit, it will get bashed around at an event! As for settings, indoors I shoot at around f7.1 to f8 for groups so I get good depth of field, I use shutter speeds of around 125 to get sharp shots as I don’t like a tripod, too restrictive, and I use ISO 400 to get enough sensitivity. White balance is easy on a Nikon, see lighting but the flash setting will do. For individuals and couples I open up to around f5 and shoot full length, head and shoulders and a close-up. Outdoors events are more dependent on the available light and the lens.

One tip, using a wireless transmitter to send the images straight to your PC, Mac or Click system avoids the pitfall of people (the ladies mainly) wanting to see each shot on the back of the camera as you take it! That gets them through quicker and lets your team at the workstation show the images properly at full size. I do actually keep the images stored in the camera as a backup though in case the wireless system stops working.

Another tip, if you are shooting groups at a School Prom or Corporate event, take a stepladder! If you get above them and shoot down it changes the angles and stops the people at the front looking much larger than those at the back! This lets you squeeze bigger groups in as well, especially useful if you are shooting in front of a green screen at an event.

Also, if you ever get a large group of girls at a School Prom or Sweet Sixteen event, take LOTS of shots! It is very hard to get a single photo where every girl is happy with how she looks, guys really are not as fussy. The girls will buy the photo that they look best in.

We tend to charge the standard rate £10 per shoot including a 6×9 mounted photograph, but do offer incentives for groups such as discounting copies of the same photograph, or offering 3 for the price of 2 if they are different shots that need processing.

2. Lighting Equipment for Event Photography

I don’t use studio lighting for indoor events! Initially I used the standard large softbox above the camera and shot in front of a grey, back or white backdrop. But that’s boring and old hat nowadays, the lighting is very flat and there is always the risk of people tripping over cables and the hassle of finding a nearby power socket.

At School proms, Bar-Mitzvahs and especially Sweet Sixteen parties it gets very busy and although we carry full insurance I don’t want a heavy studio light falling on a guest. It’s the same at Corporate events and Black Tie dinners, there’s usually a huge rush after dinner for photos and even a taped down light can get pulled over by an inebriated partygoer!

So now I use a Nikon SB-900 on the camera with the wide-angle flap down and the soft diffuser fitted. This controls two other Nikon SB-600′s also with the wide-angle flaps down using Nikon’s excellent CLS lighting system. The two SB-600′s are mounted on sturdy but portable stands and shoot through white umbrellas for lovely soft lighting. You can do the same with Canon Speedlights, or a radio trigger and some Vivitar or similar flashguns.

At an Event you don’t want to be messing around changing lighting when you have queues, but this setup is flexible and light enough to be safe to move quickly if you need to. The Nikon system lets me control the brightness of each flash directly from the camera without having to touch the lights.

As we use Green Screen backdrops at most events to add effects and digital backgrounds, I have to ensure the backdrop is evenly lit to avoid problems when chromakeying out the green. By mounting the umbrellas high up at either side and shooting through them, the green (or blue) backdrop gets evenly lit where it matters. The guests get a nice flattering lighting setup which I can easily adjust for large groups or closeups. I

I shoot on full manual with the on camera flash at about 1/32 power to give a little fill light, (I also use the wideangle flap and the soft diffuser!) but mainly to trigger the two mounted lights. These are usually on about 1/8th power which is plenty! Recycling is very fast and I’ve never had to change batteries yet at an event, although I have charged spares on hand.

If I get a large group like a football or cricket team at a sporting event I can quickly move the two sidelights back and up the power.If it quietens down and we get a guest who wants some special shots, the lights can be moved so one acts as a keylight and one as a fill for classic Rembrandt lighting. We have professional makeover software running on the workstations so can enhance pictures quickly if someone wants portfolio shots.

The SB-900 on the camera can also be removed and used as a slave for hair lighting or other effects, triggered by the on camera flash. So we can do a three light setup easily! White balance is crucial, on Nikon cameras just stand where the subjects will be, set the white balance to “pre” then hold down the wb button for three seconds. When the display flashes, point the camera back between the lights and shoot. If it says “good” in the display, you are set to go. If not, try shooting again straight at one of the sb600, it will work!

The real beauty of this system is that it all fits in one calumet rolling case and is easily portable! It is very flexible for other types of photography. These flashguns are just as powerful as studio lights, and we even carry Fong diffusers and softboxes just in case we get a chance to do some glamour photography. (and yes, you can book us for private shoots!)

3. Printers for Instant Event Photos.

I used to to run a large independent company selling calibrated colour printers, scanners and displays into the corporate design market and previously worked with Canon, Xerox, Mitsubishi and Tektronix as a colour consultant. So choosing the best Event printers was an interesting exercise!

Inkjets and colour lasers were instantly dismissed as I needed portability, reliability and photographic quality. Plus I needed to know exactly what each print would cost. An inkjet will produce the quality with a bit of tweaking but will never match the quality, speed or durability of a dedicated dye-sublimation printer.

I don’t believe in compatible inks as I’ve seen first hand the amount of R&D that goes into a manufacturers own ink. So ink-jet prints are going to be too expensive for event printing. Lasers are fast but lacking in colour quality, and extremely tricky to transport. After testing all the current offerings I decided on the Mitsubishi 9550 DW linked to the Mitsubishi Click system as our basic workhorse for producing large 9 x 6 inch photographs.

As I use a full frame camera this is exactly the size the camera shoots at, so no cropping needed! The photographs are fast and very accurate thanks to the dedicated colour profiling we use supplied by Systems Insight and fine-tuned by me!

The dye-sub process basically involves heating the ink on a ribbon until it turns into a gas and sublimates into the special paper. This is a true continuous tone process so the colour gamut is much wider than other processes, giving smooth and accurate skin tones with no dot patterns.

You can actually roll a photograph up and stand it in a pint of coke, leave it for hours and then wipe dry without any signs of running or fading, as demonstrated on the training course by Stuart! These photographs really won’t fade and are fingerprint proof thanks to the special coating. They will last longer than any other photograph!

The fixed cost per photograph allows us to offer discounted pricing for pre-paid events like weddings or school proms as we know exactly what our costs will be per photo regardless of how much of each colour is used.

But we also offer a unique digital make-over service for events using a very special PC with professional retouching software so needed a printer we could connect directly. And we wanted to be able to offer instant 12″ x 10″ photos and other large sizes for Sporting Events like football and cricket events where team shots are popular.

So we decided on the larger format Mitsubishi as well as we have now found out it also works on the Click! Consumables for the Mitsubishi Event printers are readily available and therefore discounted prices help bring the costs down. Some of the more obscure brands like Shinko and Olmec are often tricky to source.

We are happy with the speed, quality and reliability of our printers, but more importantly, our customers love the results.

4. Mitsubishi Click System for Event Photographers.

My background is in colour technology as mentioned, but prior to that I was a DEC system manager, I have a HND in Computer Science and am a qualified programmer. Yes, I’m old enough to have done all that and spent 7 years in the Army controlling Artillery fire by computers and by slide rules and log books when those systems were taken out.

So i’m probably more of a technical geek than most photographers. So why did I choose a dedicated turnkey solution for producing event photographs rather than use my expertise in PC and Mac solutions?

Laziness really, why re-invent the wheel! I quickly realised that to make any money at all in Event Photography you have to produce very good photographs to a very high standard very quickly! Workflow is very important. Initially I was either going to use a big 27″ Mac with a studio display for quality to handle all the incoming pictures, or go down the Windows 7 route with a couple of fast Sony Vaio AW notebooks with their gorgeous Adobe RGB 18″ monitors, with either system linked to a dye-sub or two.

But once I started looking at the workflow and software required I realized the Mitsubishi Click would cover all the bases. Yes, I could run either system quickly and use dedicated green screen software and professional retouching software to produce stunning results. But then who would take the photos? I needed a system that was streamlined and simple to use so I could train others to use it.

My first event was a corporate Xmas dinner and the only person available to do the green screen effects, printing, mounting and sales was my wife! The Click system is very straightforward, you set up a new event and pictures are sent wirelessly from the photographer. Selecting them by just touching the screen allows for full screen previews, once the customers have decided which photographs they want it is quite easy to drop in a green screen background and print, all by touch!

Camera cards and CD’s can be easily read or burnt, multiple printers are supported and the whole system runs smoothly and look very professional. We’ve even had customers connect their own cameras or mobile phones by bluetooth and print their own photos! My wife managed well on our first event, and we had over thirty satisfied customers that evening, in a very short period of about 2 hours from when the meal ended to going home.

Many purchased multiple photos, with different backdrops and effects, but she handled it all while I took the shots. Now we have more trained assistants as it did wear her out a bit But I still wanted the flexibility and power to use more specialized green screen software to drop in overlays and fine tune some of the more tricky effects.

So with a bit of help from the techies at System Insight I worked out how to access the system directly, and underneath the smooth software front end is a powerful windows PC. So now if we get a really special request (like “put me in the Oval Office with President Obama”) I can jump in and alt tab to Photokey or Portrait pro running in the background! And yes, you can print directly to the dedicated 9550DW by dropping jobs straight into the queue, email for details:)

You can also boost the processor speed, add more RAM, put in a HDMI graphics card to support external displays, even change out the motherboard if you are brave enough and don’t mind voiding your warranty!

I’d recommend this system to anyone starting out, and would also recommend you buy it from Stuart or Darren at Systems Insight as they know the system well!

5) Green Screen Event Photography

To be successful in Event Photography as in any business you need a key differentiators is something to make you unique. We all provide basically the same service, photographing people having a good time and offering prints or downloads. Some specialize in niche markets like weddings or school photographs, or certain types of events like Equestrian or Motorcycling. I chose Green Screen Event Photography for a variety of reasons.

I like the portability of our lighting system and didn’t want to spoil that by having to carry around various huge coloured backdrops for different occasions. I find it boring having dozens of people shot the same way, and I’m sure most people who go to events are getting fed up of the same blue grey backdrop, or the “ultra modern” white or black high or low key shoot.

I want to have fun at an event and want the guests to experience something new. So we shoot everyone in front of a blue or more usually a green screen and then our special software can replace that colour with any of our 2500 digital backgrounds! This gives us the flexibility to add classy studio backdrops to Black Tie and Corporate Events, and lets us choose appropraite colours to enhance what the guests are wearing.

For School proms and Sweet Sixteens we can get the guests flying through space, on stage with their favorite rock bands or in the latest movies. Bar and Bat-Mitzvahs are great fun as we can transport the guests anywhere in the world, and for all events we offer free personalized overlays and designs so the event is memorable and unique.

The secret to Chromakey Event Photography is keeping the workflow fast! If you offer a guest 2500 choices, expect a huge queue or a lot of disappointed people. We tend to design 10 choices for each event and will print an example of each so they can decide before we shoot. That way if they are going to be posing alongside a Twilight Vampire or on the dance floor with John Travolta, they can strike an appropriate pose! It does slow things down having to add backdrops but we prefer the interaction and the guests enjoy the experience.

It’s not all about getting them shot and printed to us, some event companies work like a slaughterhouse concentrating on quantity rather than quality, that’s what the auto cameras at theme parks are for, we would rather spend a little time earning our money!

We prefer green screens to blue screens as less people wear the actual shade of green we use. Blue clothing, eyes and jewellery are more common and can cause problems unless you know how to mask out those areas. We use very special green screen material now, direct from the film studios. This is a special white backed material that absorbs light and glows evenly. Ordinary green muslin will reflect light and cause problems especially with very blonde hair. Contact me for details, it’s twice the price but worth it!

Don’t worry about evenly lighting the backdrop as many claim, that will just cause more spill and you need more lights power and cabling! You can’t get your guests the recommended 10-12 feet away at an event, which you need to if you light the backdrop! Imagine if you were shooting a group and they all had to be 12 feet in front of the cloth!, how big would it need to be! Using pro software lets you quickly adjust for spill and reflected green light.

The trick is to light the people not the backdrop, that should only appear in the gaps anyway and if you have a light enough green it will work. Less is more, light from the sides and above so any shadows are still green and they will disappear.We use overlays and backgrounds to get realistic Magazine covers and special effects .

People don’t notice that usually the models on magazines go in front of the title heading but behind the informative text! And watch out for copyrights, design your own magazine covers that are similar but not identical, you can buy these from the USA as overlays. .PNG files are best but won’t work on the Click, you need to do what we do and switch.

The President Obama shot is a good example, He is in the background, the guests are dropped in on top, then the desk is added as an overlay in front.

6. Starting an Event Photography Business.

Don’t believe some of the salesmen out there who claim it’s a license to print money! That is their job and they do it well, but like any business you need to really work at it. Most pro photographers wouldn’t dream of doing a photoshoot AND supplying a framed large photograph for a tenner! And don’t think just because you get a booking at a black tie event for example with 100 people that you are going to sell 100 photos !

30% of those people won’t even want a photo taken! That’s just the way it is. There won’t be many single people wanting a photo on their own, and there’s always a large group who want just one shot of all of them, but will buy additional copies at a discounted rate. That leaves the couples, so that brings you down to around five singles, a large group and twenty couples.

You will earn about £300 at an event of this size. Ok, that’s a small event but just about possible for two people to cover so that’s only one assistant to pay. Then there is the cost of the prints, mounts and bags, traveling costs, insurance costs not to mention an hour to setup and an hour to pack down plus sometimes many hours of waiting for a dinner speech to end.

Don’t forget the website you need, the adverts to get bookings, the expense of all the gear, marketing your website, the admin and post production work to get the images online. The usual business costs of stationery, phone bills, promotional gear and all the insurance.

Also remember there are a lot of excellent photographers out there, and anyone can buy a good camera, lens, and a fast printer and go out and do this. The big companies will already have the big events sewn up, So you need to use your contacts, ask around, advertise and promote. Offer to do some small events free for the practice, but still charge the going rate. Even if you only sell 10 shoots in a night, the experience is invaluable before you tackle a busy event.

Once you get a booking, splash out on some pop up banners showing what you do, flyers and business cards. When you get there and setup, take a few test shots of the bar staff, waitresses and event organizers to test everything. Frame these up and give them out as gifts, asking them to show the guests! Great advertising! Get the DJ to tell guests where you are and what you are doing. Work the tables if it’s quiet. Above all enjoy it and be polite and professional as you are representing us all!

That’s enough secrets revealed for now, if anyone wants to ask any questions feel free. This is just my opinions and experience so far, I’ll add more as I get time. If you find this at all useful, please tell others, I’m not charging to write all this, nor am I selling anything, but links to my site www.fullframeevents.co.uk will really be appreciated, or a mention in any blogs etc. I only work locally 30 miles around my location in Hemel Hempstead and share events with other event photographers if I can’t get there, it’s top far away or I need more photographers, so the link won’t hurt your business! Cheers, Paul Harrison

Our Glamorous cover model is: Ashley,  Ashley’s, photography is supplied by Ronin Photography & Design.

Lightroom is a wonderful software program. I’ve been using it for the past few years. In this lesson I am going to provide you with some basic Lightroom tips so you can begin navigating your way around the program.

So what’s so wonderful about this program? It is a really simple program to use. It’s designed for photos rather than graphics and special effects as Photoshop is. Photoshop is a wonderful program but if you would like to do easy edits on exposure, white balance and other colours and tonal range manipulations quickly then Lightroom just may inspire you.

First we need to understand that Lightroom has five major tools and a variety of panels that consist of sliders. The sliders are various controls that enable you to transform features of light and colour up or down. These functions can amplify or lessen the intensity of light and colour within your photograph. The tools are located at the top of the panels; crop, spot removal, red eye removal, graduated filter and the adjustment brush. Each one of these tools plays a fundamental part in retouching and altering the light within your photo.

Let’s look at Lightroom’s primary tools:

Crop tool: The crop tool puts a grid over the top of the photograph. You then move the edges of the frame in to crop your photo. You can shift the edges in close to your subject. You can slant your scene, turn it various ways and even make your horizontal a vertical one instead.

The spot removal tool is like the clone tool in Photoshop. Once you click this tool, your curser turns into a little circle. Whatever is inside this circle means it now gets duplicated over the top of any area you want to select. Imagine cutting out a portion of paper and putting it over the top of something else. That’s kind of how it works.

Our glamorous cover photography is supplied by: Mike, Lost For Words Photography.

Question: How do you honestly feel about your body image?

Here is the truth… body image in women, in every woman, is a struggle we face every single day. The magazines on every news stand, in every grocery store, on every shelf, are not helping! There isn’t a single magazine I can think of out there that really PROACTIVELY addresses the issues we face, they really only add fuel to the flame.

There is this mentality that we sometimes develop that if we just pretend it doesn’t matter then it won’t. This past issue on beauty really brought this to my attention. How do we write about what makes us feel beautiful when we don’t actually feel beautiful? How do we instill these lessons in our daughters when we still don’t have them in ourselves? Why do we feel like hypocrites when it comes to beauty? So we tell ourselves that we don’t care about losing twenty pounds, or dressing up, or feeling beautiful. But these are real issues that every woman, Christian or Not, struggles with and we will get nowhere by pretending they shouldn’t or don’t matter. Because they do!

Every magazine directed towards women does a great job of putting the issues front and center. Magazines sell because they focus on issues that women struggle with. EVERY WOMAN. I won’t lie. I am drawn to every article I see on beauty products, tips, losing weight, eating healthy, and fashion. I watch YouTube videos on how to apply make-up, what products to buy, and how to do my hair. I find them interesting and I also enjoy them. I enjoy fashion (I love shopping), I enjoy make-up and getting my hair done, I work out on a regular basis, I watch what I eat, and I feel guilty when I make bad health decisions. I would be a hypocrite if I said I didn’t care about all those things. I am a girl and I enjoy girly things! I love to get dressed up and feel beautiful!

Here is the problem. No matter how many hours I spend in front of the mirror, regardless of the videos I watch or the products I buy, I don’ feel any more beautiful. What the magazines are selling isn’t helping! But I keep buying and keep reading because it’s the only source out there focusing on those issues… even if it is in a subtly detrimental way. There is a void in my heart that I just can’t seem to fill.

And there it is. It’s my heart. The hole, the pain, the desperation, the need to feel beautiful, I feel it in my heart. The definition of insanity is trying the same thing over and over again expecting to get different results. Up till now I have been insane, and there is a good chance you have been too. We keep doing to the same thing over and over again hoping to feel beautiful. Only we are tricked into thinking it’s going to work because there is a new bottle, a new formula, a new cutting edge technology, a new magic wand that is going to transform us into Cinderella with a flick of the wrist and a few magic words. But even Cinderella only had until midnight… So I am ready to try something new. I am ready to work on my beauty from the inside out. This time I am not throwing all the things I love out the window. I am not going to stop wearing make-up or having my hair done, or pretend I don’t like shopping. I am not going to shun beauty, I am going to Rethink it.

Our gorgeous cover model; Aneta, may be reached through Mike, Relaxx Images. Aneta’s cover photo was photographed by: Mike, Relaxx Images.

Our gorgeous cover model; Emily’s cover photo was photographed by: Dave Davis Photography.

There are works in the Glamour Industry that one would consider beautiful and skillfully crafted, and then there are those images that make you stop in your tracks! GlamModelz Magazine interviewed a creator of many such images. Jamie Forhan, Maryland .

GlamModelz Magazine: Let’s get started!  Tell me about your background…how did you get started in Photography?  Jamie Forhan: My first camera was a black and white Polaroid when I was in grammar school. I took pictures of my friends and family. I upgraded to a color Polaroid in college, still using it primarily to take pictures of family and friends. The first time I was paid for my work was an image I took of my totaled Toyota. The car had been struck in the rear at over 100 miles an hour by fleeing bank robbers and the car had not exploded, It was at a time when Toyota was getting a lot of bad publicity about gas tanks exploding when their cars were hit from behind. The Toyota dealer I bought the replacement from bought the image for $200.  I later joined Price Waterhouse International and used the international travel to upgrade my equipment in Hong Kong and then used it to take images in over 25 countries.
 

GlamModelz Magazine: Why Glamour /Beauty/Fashion?  What other genre’s and styles interest you? Jamie Forhan: I took up Photography full-time after I had surgery for two brain aneurisms, which ended my previous career. I’d lost my fiancé to a brain aneurism when I was 23 and took my survival of two including one that required experimental surgery as a message. I decided to “Do what I love and love what I do” for the rest of my life. I started doing charity fashion shows including some that I organized myself. Over time I met most of the top designers in the DC area. Today I do Glamour/Beauty/Fashion/Events/Artistic. I just had a cover and a full page of Steampunk fashion image from one of my Meetup groups published along with eight pages on DC Fashion Week.

GlamModelz Magazine: What or who inspires you as a photographer?  Jamie Forhan: The Beauty of nature, the creativity of the designers I work with and the most perfect design, the female form.

As to who, I work with the We Believe Foundation, a charity that raises funds for people battling cancer.

I also have the privilege of working with a model that at 23 is beating brain cancer for the 2^nd time. She was a Podium model as the 1^st Night of Pink Hope http://anightofpinkhope.com/. Now she’s planning her wedding and has asked me to photograph it. I have a framed image of her as a Podium Model and I’ll have one of her as a bride.

GlamModelz Magazine: What was your funniest experience shooting in the field?  Jamie Forhan: The day the banks of the Potomac slide out under me and I slide into the river then tried to figure out how not to lower my hands that were holding all my equipment above my head without drowning. Never did figure it out lost a NIKON, lens, flash and a Blackberry. Didn’t seem funny at the time but looking back you have to laugh.  I was less upset about losing the equipment than not being able to complete the shoot. Now I keep a backup bag with spare everything in the car and our studio insurance covers the equipment.

 GlamModelz Magazine: What challenges do you face in this industry?  What would you change about it, if you could?  Jamie Forhan: The economy has affected everyone in every industry including Designers, Photographers and Models. Many of the models I work with are trying to use modeling to help pay for college and its more difficult than ever before because of the recession. There are fewer people to buy fashion, pay photographers and models and marketing and advertising dollars are going to the Internet instead of print magazines and newspapers.

In the DC area we have a number of projects underway to try to help. We’re planning Studio Couture events to promote a Fashion Flea Market in our studio’s parking lot. We also have a number of brand ambassador programs where models will get paid based on sales of the brands they represent

 GlamModelz Magazine: What equipment is essential for you as a photographer, to capture your “best shot”?  Jamie Forhan: My best shots were not dependent on the equipment I used. They were a result of luck and “magic”. unless you count eyes and natural light as equipment. My best shots were shot by moonlight, candlelight, and firelight and at sunset or sunrise at “the golden hours”

 GlamModelz Magazine: What inspires and motivates you when selecting locations for a glamour shoot, over a fashion shoot? Jamie Forhan: For Glamour shoots I like to shoot outdoors as much as possible at a beach at sunrise or at a waterfall or an abandoned building. Occasionally I shoot Fashion outdoors the contrast between a colorful design and the muted grey’s and browns of an abandoned building can be interesting but most of my fashion shoots tend to be at runway events or in the studio. Many of the Fashion shoots are for catalogs, look books, etc. and nowadays we often shoot in the studio in front of a Green screen and drop in the background later.

 GlamModelz Magazine: What are your goals for your photography?  Other goals?   Jamie Forhan: My goal in everything I do is the same “To make a difference” and to leave things a little better than I found them. For example to help a new model develop a portfolio that helps her get work so she can pay for college or pay her student loans if she’s already finished college.

 GlamModelz Magazine: What qualities should Models/MUA’s/Stylists, etc. have to work with you?   Jamie Forhan: Patience, flexibility and communication skills. The ability to describe their vision and to listen and understand the model/clients/MUA’s vision

GlamModelz Magazine: What advice do you have for new/amateur photographers?   Jamie Forhan: I‘m reminded of an old joke how do you get to Carnegie Hall? Practice, practice, practice.

 GlamModelz Magazine: What advice do you have for new models that want to model? Jamie Forhan: The most-successful models I know are the ones who keep trying; they show up on time and prepared. They handle rejection with poise and dignity, they don’t get angry or discouraged, just more determined. They don’t quit when things get tough they just get tougher and keep trying and they ask themselves and others what could I do better? How can I make the cut next time?

Modeling is a job and it isn’t as easy, the key to success is the same in almost every field “If at first you don’t succeed, try, try again”.

 GlamModelz Magazine: In addition to photography, do you have other skills/interests/talents in which you excel? Do you have any special charities you donate work for and why?  Jamie Forhan: I’m a skilled Networker who adapts to change. It comes from my background as a consultant.

I’ve done work for the Wounded Warriors Project, Breast Cancer Awareness, Fresh Start Science http://freshstartscience.org/ which assists single mothers and other Charities but the one that means the most to me personally is the We Believe Foundation http://www.millerstrong.com/ > We’ve donated our time and the use of our Photo Booth for the last two Nights of Pink Hope and the WE BELIEVE LACROSSE CLASSIC: A
Cancer Charity Even with Over 50 Top College (representing 24 colleges or universities) and 80 high school freshman players playing in honor of cancer warriors.

And my Meetup groups are often used to support other local charities. Right now my Fashion in the DMV group is featuring the annual fundraiser of the Paul Mitchell School at Tysons Corner as they raise money for 11 charities

Children’s Miracle Network Hospitals
No Limits
Andrew Gomez Dream Foundation
Food for Africa
Boys and Girls Clubs
Cancer Schmancer Movement
Magic Johnson Foundation
Morris Animal Foundation
Habitat for Humanity Haiti
Gary Sinise Foundation
American Humane Association

Fashion in the DMV is also promoting a  a fundraiser fro Fresh Start Science

GlamModelz Magazine: What other interesting facts would you like GlamModelz readers to know about you?   Jamie Forhan: I had eight careers, not jobs, careers, unusual for my generation but it will be more commonplace in the future as the pace of technological change continues to accelerate making more industries obsolete quicker and bringing new ones into existence. When I was born there were no cell phones copy machines, email, text messaging.

GlamModelz Magazine: Where can we see more of your work?  How can models that wish to shoot with you contact you?  Jamie: More of my work:  http://www.modelmayhem.com/1325580,  http://www.meetup.com/DMVPin-upModelingandphotography/.  http://www.meetup.com/Fashion-in-the-DMV/ , http://www.meetup.com/High-Fashion-and-Creative-Photography-New-England/ , http://slyhorsestudio.com/, or by email: Jamie@shyhorsestudio.com

Our gorgeous cover model is: Nadine Höfler and may be contacted through her Facebook page. Nadine’s cover photo was supplied by Jamie Forhan.

A Year in the Life of a Studio Model

GlamModelz Magazine features the beauty and talents of Glam Model Tina Marie of Boston, MA.
By Rick Trottier – RJT Images

Professional and artistic relationships created in the Modeling Industry are often some of the most enjoyable of all the interactions in a lifetime. In the Spring of 2012, Tina Marie came to shoot with me for the first time. Within a year’s time, we have shot 5 times and each and every shoot has taken on a character and a life of its own. Rather than craft an interview as I have done for all the other model features I have created, I decided to try something new and examine an artistic relationship developed over the course of a year and in the process shed some light on a wonderful young lady who has been a pleasure with work with and to know.

RJT

When a model comes to you for the first time, even when you try to hash out content and explore personalities in emails, you never really know what she is going to be like. One of the joys of the photographer-model dynamic is the learning curve. When Tina Marie walked into my studio for the first time in March of 2012, her effervescent personality and delicate charm were immediately disarming. It didn’t take long for her to begin chatting happily with my Makeup Artist Naomi, which I always find to be a very reassuring sign.

We had discussed some concepts ahead of time, so I had a sense of what we were going to shoot, but once Tina Marie began unpacking her trunk (yes, she did like ALL good models do, she brought PILES of garments), I was deeply impressed by the eclectic nature of her choices and fashion inclinations. She had everything from classic glamor lingerie, to jeans, to exotic wear and swimsuits, and EVERYTHING in between. In addition, she was good about bringing jewelry and was a decorative person in her own right.

My attitude towards tattoos is one of true ambivalence. I don’t seek them out, but I don’t dislike them. Finely crafted ink will certainly catch my eye. Tina Marie had a mix of older ink and some very fresh work, all of which worked seamlessly together and showed some clear artistry. Added to that, she had a mix of body and facial jewelry that blended in the most fascinating way with her winsome loveliness and long, lean and yet still curvaceous physique. Naomi did a brilliant job bringing out the strengths in Tina Marie’s large and expressive eyes, so that when it was time to shoot, I was already deeply optimistic about the chances to get some superb images.

I was not disappointed. We had a wonderful day of very diverse imagery, from skater punk looks, to edgy glamor, classic 50s-like boudoir, exotic fashions and implied nudes. Several of those images are still some of my favorites from our year of work together and I was certainly looking forward to other chances to shoot with Tina Marie. While I ALWAYS give a great deal of direction during a shoot, Tina Marie’s natural posing skills made her easier to work. There is a fluidity to her posing, married to her slender build and superb curves that make her seem willowy and her movements effortless. Her bright, intelligent and sweet demeanor made the day as pleasant as could be asked for. First shoots can be incredibly positive and sometimes incredibly punishing. Our first shoot was as good as it could be.

Our 2^nd Shoot came two months later and allowed me to see further into Tina Marie’s spirit and interests. She has asked me to line up a motorcycle, which I did, a very recent model Kawasaki street bike that was very fast, incredibly sleek and gleaming white. In addition to the two outfits we shot with the motorcycle, we shot two other outfits to continue to create portfolio content for her. The attire and concepts of the shoot were more conservative than our first time around, which was perfectly suitable as the interests of the model are always what drive me and I knew what we would be shooting would be lovely and engaging.

Tina Marie chose a bikini for one set with the bike and a skirt/top ensemble for the second set. Both outfits fit her look and the bike perfectly, and the owner of the motorcycle (when he saw the finished edits) was simply mesmerized by all the same stunning attributes I had been impressed with the very first time. Bikes are not easy props to work with. For one thing, the model can’t completely upstage the machine since it is just as important to the image as she is. In addition, to light both the bike and the model appropriately, posing and framing have to be carefully considered. I was impressed with Tina Marie’s ability to take direction and create a seamless tableau with the power and profundity of the motorcycle. Her choice of outfits was perfect and the images were superb.

Our other two sets were a mix of edgy fashion and eclectic glamor. Typical of Tina Marie’s wonderfully developed sense of style, she had brought attire that showed the diversity of her interests and soul, and the imagery we got from those two other sets was a wonderful complement to the motorcycle pics and created some superb contrasts with what we had done back in March. Second shoots can sometimes be a “let down” if the first shoot goes well. Our first had been extraordinary, so I was justified in being slightly concerned about the level of success in this, our 2^nd Shoot. I was not to be disillusioned. Tina Marie is a professional, an artist and a young lady of a kind and sensitive disposition. Disappointment, I was soon to learn, is not a word which I would couple with her.

Our 3^rd shoot was less than a month later, in mid-June and it took our work in an entirely new direction. We went outside for some seaside, sunrise imagery and then some further shots at a wide variety of locations south of Boston. For the first time, Tina Marie wasn’t coming to my studio; I was picking her up at the Crack of Dawn and going to locations she was more familiar with than I. I love creative moments, spontaneity and chances to walk “the Road not Taken”. As I always do when shooting on location, I brought my portable changing booth, my portable lighting array and all my gear and we were off. As Tina Marie had done previously, she brought a wonderful mix of attire and her ineffably unique sense of style and we started the day as the sun broke over the horizon.

One of the laws of outdoor photography is “expect that you will be surprised”. I always hope for good surprises, and that mid-June morning I was treated to a delightful one. Tina Marie had chosen a very colorful, print bikini to start the shoot and with it an accent piece for her hair, a large and lovely flower. In addition to these bright and emblematic hues, there is also her body ink to consider, which adds its own sense of flair. To my complete and utter astonishment, the cloud patterns, humidity and sunlight created a multitudinous array of pastel colors in the morning sky that matched her attire and ink PERFECTLY and our day had started in a manner that I couldn’t have scripted anymore perfectly had I tried. We got a pair of superb images from that first outfit and then moved quickly to take advantage of the rapidly shifting morning light. For those who are of the uninitiated, outdoor photography is dependent on a sun that is constantly moving and sunrise is no exception. As the sun lifts through the sky and cloud cover, colors, light intensity and cloud patterns change significantly. Her next outfit was a black bikini, and was an inspired choice, for just as Tina Marie emerged from my changing booth, the light shifted from pastel hues to an almost amber tone. Once again, the look was spot-on and some fabulous images were to be had.

From that point, our day became somewhat nomadic in nature. We had exhausted the opportunities at the sunrise location where we started, but undeterred we moved to other locations, a total of seven by the time we finished up. Other locales were beach like, one was a background shot of Boston Harbor and the City Skyline, and several were created within the confines of a park where old military fortifications could still be seen. What delighted me about the day was the variety of attire we tried set against an assortment of backgrounds that was always quite breathtaking. One of my favorites was toward the end when Tina Marie wound a very small magenta silk about her waist, and then did a topless implied set against the backdrop of a dramatic sky of blue filled with wispy clouds and a blazing late morning sun, all over the seashore seen from atop an escarpment overlooking Hull, Massachusetts. The juxtaposition of Tina Marie’s eclectic beauty against such a background was simply incredible. By the time the morning was over, we were both tired and we withdrew to her apartment to look over the images, make some choices and enjoy the company of her adorable cat. It had been a memorable day for so many reasons, not the least of which is that outdoor photography has always been my favorite and getting the chance to share that with Tina Marie meant a great deal to me.

Our next shoot was not to be for nearly six months. Life is never like the placid waters of a calm pond. The eddies and currents, swells and surges move us in directions we cannot entirely foresee no matter how learned and wise we become. Tina Marie and I lost touch for a portion of the late summer, but one evening in the early autumn, as I was out for one of my favorite walks, I got a text from her and we began the process of setting up our fourth shoot.

This shoot did what I really didn’t think was going to be possible, we went in directions even more varied than we had before. For one thing, we shot more fashion than we had in the past and that worked wonderfully for me for Tina Marie’s choices were brilliant as usual. Her dresses/skirts fit her figure beautifully, had that customary sense of immeasurable style and innovation when it comes to fabric, decoration, texture and pattern. Since it was early December, our other two sets focused on Holiday Imagery, which was also a first for us, to create pictures that would be so conceptually focused. What was also an amazing departure was that Tina Marie covered her lovely hair with a very dramatic, long wig. Normally I tend to look somewhat askance at wigs, although my friend and colleague Renee had used them beautifully in the past. Tina Marie helped to dispel some of my prejudice against such fare for it was a superb accent and went with the attire she brought absolutely perfectly. Her makeup was also done differently this time around too and as a result, the images we created were so very dissimilar from anything we had done before that I was simply enchanted.

Our fifth shoot came early in the New Year and did what each and every shoot before had accomplished, we broke new ground and explored new paths. There is something quite wonderful about knowing you will be exploring new territory each and every time you work with someone and that such fare becomes the norm, not the exception. For our 4^th shoot a month and a half before, I had utilized natural and ambient light for one of the sets and chose to do so again this time around. But this time, the attire, the makeup, the lighting array and the camera settings were all very different, giving us a series of images that were unlike anything we had done before. There was a winsome quality to the images and a delicate innocence we had not yet achieved. Tina Marie showed me another side of her personality when she asked to do some sports themed sets of images built around her Boston Bruins jersey and some topless implied content. Sports themed images can be so very sterile, but these were not. How could they be with someone as creative as Tina Marie? For the second time we shot with a motorcycle. This time around, it was an immense Suzuki street bike of varying blue and silvery shades. The reason for the return to bike imagery was simple. The first bike was not one she could climb onto due to the recent application of a custom and expensive paint job. This motorcycle, while beautiful and pricey was one she could actually get onboard and pose in some more dramatic styles, which helped her achieve looks we were not able to do the first time. Motorcycles are a great love of Tina Marie’s and it isn’t often I get to shoot more than one bike with a model. Tina Marie enters rarified company in that only Chrissy (4) and Rachel (3) have shot more than one bike with me. That is some pretty special company.

As happened after our beach shoot last summer, Tina Marie and I have lost touch for a short period of time. I know she has a busy and involved life that pulls her I many directions. And I also know that when the time is right, she will reach out again like she has in the past. When I thought about this article, it seemed like the ideal concept to do something unlike all that had come before because what makes Tina Marie special is her flair for all things out of the mainstream. What makes her even more wonderful is that her personality is so soothing, down to earth and charming. It has been said of me repeatedly, that I have built a studio that encourages positive interactions among the models, friendship and safety. Tina Marie fits that bill as a person as well as anyone else I work with and her creative beauty helps spur my artistry towards new courses of expression. One cannot ask more of a colleague.

  Our gorgeous cover model;Tina Marie, may be reached through her ModelMayhem profile:  http://www.modelmayhem.com/1687594,  Tina Marie’s photography was supplied by: Rick Trottier, of RJT Images.

Although I truly need to admit the fact that the Canon 100-400mm lens has been on my hit list for some time. I have some great lenses, though. In fact, I’ve got a Canon 70-200mm f4, that is perhaps my very best lens.

Some of the factors the Canon 100-400mm lens tops the list as my future acquisition:

1. The zoom range is just right pertaining to my requirements. I shoot loads of bird photos, and at this time I have to think about imaginative techniques for getting closer. The zoom to 400mm will be superior to the 200mm I now have. Plus, whenever you put this lens upon any camera with a crop image sensor, such as a Rebel or perhaps 7D, you obtain 1.6x the stated focal length (680mm). Now that is fantastic.

2. It’s an L series lens. That is Canon’s highest quality lens collection. You obtain superior image quality, superior engineering, plus, you will have plenty of individuals watching and turning green with envy over your gear (view the account down below).

3. Nature Photography needs a lens like this. If you cannot spend the money for prime lenses at 400 or 500mm, this specific zoom lens is the next most suitable choice. I mentioned above taking pictures of birds, but a majority of natural creatures won’t just walk up close and say “cheese.” You truly need a lens that can reach them. So when you happen to be walking through the wilds of Alaska or just walking through your local town, a telephoto lens at this length is what you will need.

So here is the story of my recent experience with “lens envy.”

I had been driving to work at exactly the right moment in the early morning for the sun’s rays to be great for a certain photo I have been thinking about. It’s a horse farm and stable that is close to the corner where I turn. There are several beautiful chestnut ponies grazing in the field on a sloping hillside which has a small barn in the front.

It happened to be the exact photo I was dreaming about. So I pulled off the road just after turning the corner. Took out the Canon digital slr from the bag and attached my 70-200mm lens to it. I proceeded to cross the road and take up my location next to the fencing. I snapped a few pictures and shifted to take a few more. I checked the rear monitor to see how the shots were turning out.

I was a bit disappointed that I was so far away from the hillside. I would have to do some cropping after I got the photos uploaded to my computer.

That’s when it occurred to me that there was someone else standing nearby, and he was doing exactly the same thing I was. I noticed the familiar color of a Canon telephoto L lens. It was the Canon 100-400, and I began to get that sick feeling in my stomach.. perhaps you know the one I’m speaking of? It’s the one associated with jealousy.

We struck up a conversation, and he said that seeing me taking those shots had given him the courage to stop and do the same. Before I left, I got his card which had the web address I could go to in order to see the images he had shot that morning.

Needless to say, i was again so jealous when I saw them. Someday very soon, I’m sure that I will be opening a package that contains a Canon 100-400mm lens, perhaps it will be on some special occasion like my birthday or April 5th (the date is insignificant – any day will do). Just hoping my wife will get the hint when she reads this.

I’m sure that I will be the owner of a Canon 100-400mm lens one day soon. So much so that I have a website devoted to that and other lenses that I either have or want. Check it out at http://www.canoneoslenses.org.

Happy Shooting!

Our gorgeous cover model; Yvonne, may be reached through RJT Images on GlamModelz Magazine. Yvonne’s cover photo was photographed by: Rick Trottier of RJT Images.

So what exactly are gels?  Lighting gels or just gels are thin sheets of colored, translucent plastic, usually polycarbonate, that add color for theatrical, photographic, video graphic, or other lighting situations.

Gels are fantastic to add some punch or visual sizzle to what might otherwise be a fairly mundane environment.  Typically gels are placed in front of lights in a gel holder.

A gel can be used on any kind of light source.  Many people use Do It Yourself (DIY) methods to attach gels to speedlights which is a very cost effective way to add gels to your photography.  I personally use monolights with special adapters to hold the gels.

Adding a little bit of color either to your subject and/or background can really make a glamour picture pop.  This is true whether you are using a studio set or location set.

The trick is to use complimentary colors to your environment, subject, wardrobe, and lighting.  A color wheel really helps to decide what colors are complimentary and which are not.  I recommend having one available as a reference to make sure your choices make sense.

I use gels primarily for adding color to the environment and seldom actually use them directly on my subject. This accomplishes a few things for me.  First it allows subject isolation.  Having a distinct color as a background effectively draws your eye to the subject.  This is obvious in all the examples.  When using this technique placement of the gelled light can either give you a uniform color or a gradient effect.  Another cool benefit is that any subtle color changes in the environment is also reflected in the colored light.

Example 1

Example 1 is a great example of a subtle addition of color added to make my model pop against a rather mundane background.

This also demonstrates that a subtle, complimentary color can really soften the feeling.  The room was all white so the harshness of a lit white room would make the image have a different feel.  Toning it down with color is also a great use of the gel.

I also tried to make sure that the color had as little impact on the model as possible.  As you can tell from the shadow on the ceiling, I had the gelled monolight pointed toward the back wall fairly directly.  I also use a fairly low power output and balance the light by dragging the shutter.

Example 2

Example 2 is still demonstrating lighting the background but the difference compared to Example 1 is that I let the colored light bleed onto the back of the model.  This is most apparent when you see the backlight on her hair.  I feel the mood dramatically changes with the color as a white background would create a less dramatic feel.  With the addition of the purple color hues, the shot has a boudoir sensibility that a white background would not have conveyed.

Example 3 follows this same convention by using a pink gel to create that same feeling.  I also allowed the gelled light to brush the model to carry that color palette onto her.  It also is very complimentary to the color of her outfit.

Example 3

If your environment does have color elements make sure you choose complimentary colors.  Using gels can have a negative impact if you choose a color palette that doesn’t work with your environment.  Example 3 also demonstrates the compatibility of the pink with the dark stained wood elements on the bench and surrounding the fireplace.  Be aware of all of the colors in your environment when you select your gels.

Example 4

Example 4 demonstrates a very bold contrasting color lighting the background but I added a little twist to this one.  I wanted to give Michelle a little accent back lighting but with color.  I had a blue gelled monolight brushing along her front adding the subtle blue effect.

When you use this technique it’s much more critical to consult the color wheel to determine all the colors and how they will interact.  The blue had to work with her hair, her skin tones, the wardrobe, and of course the red background light.

Example 5

Example 5 shows how the gel can really enhance the shadows by providing a gradient of color.  This creates a fantastic visual element that creates even more sizzle.  The darker blue shadow really compliments the geometric lines that run through this picture.

The significant contrast between the color of the model’s outfit and the gel makes her pop and the lines all draw your eye to her.

I positioned the gelled monolight to pass through the staircase behind the model to create that wonderfully darker blue shadow.

Example 6

Example 6 is an interesting picture because I used the a ringflash.  The pink gel is illuminating the back wall but if you notice the classic ringflash “halo” shadow around Michelle is a very cool effect.  The darker hue of pink almost makes her appear to be glowing.  If I didn’t gel the background then this effect would not even be visible.

The key in using gels is to make sure that the colors work together.  If you use the gels on your main light make sure that the color is complimentary to the makeup as well.

For my style of photography the gels create visual interest and subject isolation.  My suggestion is to be creative and try different lighting methods using the gels and see what really gets you excited.

Just don’t get too carried away with gels as they can also create a negative effect.  I’ve seen examples of over gelling and all you see are the colors and really lose the subject.

Thanks for stopping by!  Feel free to contact me anytime if you have questions comments about this post.

Cheers!

Don

Whether you own, rent, trade time for a studio or only shoot in the most commando-like settings, effectively managing your resources during a “studio shoot” is one of the most important elements when it comes to making the evolution from a hobbyist to a professional photographer. Understanding that a successful shoot of any type needs careful management of time, energy, materials, concepts/content and personalities is what makes the difference between a rank amateur and a seasoned expert. Proper handling of all the aspects of a shoot will set you apart from your colleagues as your reputation for professionalism precedes you. Like the Rock of Gibraltar, the professional photographer should be as steady and responsible in the control of his universe as is humanly possible.

Achieving a consistent grasp of resource management starts with finding a proper balance between the need for structure and maintaining a degree of spontaneity in your methodology.  Planning and structure are absolutely essential to professionalism. The hobbyist “wings it” in most or all of what he does. The professional prepares wisely, puts thought into what comes before, during and afterwards and reflects on what went right and what didn’t and then makes the appropriate course corrections. Nonetheless, adhering to the talisman of structure can lead to a stultifying approach in how you conduct your shoots. This may sound oxymoronic, but “planning in” some opportunities for spontaneous lighting schemes, background options and even posing strategy will keep any studio experience from becoming stale. In the end though, all photographers must make the choice between trading a “devil-may-care” attitude for a mantra that embraces a mix of business-like aplomb, artistic integrity, personal affability and a healthy respect for the needs of your clients who must come first if your photography business is to thrive.

Managing a shoot starts well before the model walks into your studio. Whether the model contacts you first or the converse, detailed and clear discussions must start well before the shoot commences. While texting has become the communication method of choice and talking on the phone is still simplest, the most professional manner of exchanging ideas is through email. Detailed correspondence that can be easily preserved, carefully considered and reconsidered and serves as a written contract of terms is the best method of preparing for a shoot. Models often have many questions, all of which are the job of the professional to answer. Photographers often have a great deal of information to impart, all of which it is job of a model to carefully ponder. Before the shoot occurs, there are three main points that must be deliberated and should be done so in correspondence: image content, general expectations and the terms of the shoot. Content incorporates the basic genre(s) of the shoot (glamor, fashion, fitness, pinup, etc.) and it also includes the outfits to be shot for those content genres. Discussing content ahead of time helps to solve a pair of problems. One of them is conserving time usage. Picking through a suitcase of garments and debating what is going to be shot can be a COLOSSAL waste of time and lead to starting the shoot with a shared sense of frustration. Hashing out the general sense of what is going to be shot not only helps save time during the session, it leads to a sense of shared purpose, which engenders trust and respect. Any kind of content ambiguity leads to uncertainty and a lack of trust. I do encourage models to bring MORE than the number of outfits agreed upon, just to be on the safe side. But before a model walks into my studio, I want content to be something that is no longer in question. Expectations encapsulates all the general thoughts about how long the shoot will last, are escorts allowed, how much direction will be provided and all the other questions a model should ask so that a sense of safety and comfort is established. What photographers often forget, especially those of us who have done this for a long time, is that for the model, her shoot is something she has been looking forward to for days or weeks and there is often a hefty case of nerves by the day of the shoot. Nervousness can be apprehension or even anxiety if there are unanswered questions. The professional photographer answers ALL the questions that can be answered and even poses a few questions of the model to spur fuller explanation. I want each and every model to leave my studio feeling thrilled, validated and having had a life-affirming experience. That happens when expectations are clear. Finally, terms must also be discussed. Terms simply means what is going to be provided in regards to the number, nature and delivery of edits, the language of the model release and any other legal and commercial language that needs to be explored. Like setting clear expectations, clarity of terms is absolutely essential. The modern “playground” mentality of the internet often leads the untutored to assume that they will get whatever they want and can use images however they deem. The professional knows the nature of copyright and intellectual property law and courteously explains all of that data to his client.

Once the model walks into the studio, in essence the shoot has begun because a professional shoot is a lot more than just clicking a shutter. A model may be so beautiful that she seems to be more a work of art than flesh and blood, but she is a human being with a soul and a personality that needs your consideration and understanding. I sit down briefly with any model to go over some of my structure for the session. Depending on the experience of the model and your familiarity with her, that sit down can be only a few minutes long or as long as 30 minutes. Make sure it doesn’t become a time-wasting gab-fest, but be warm, inviting and informative. More important than anything else, I go over my “never-varying shoot strategy”. Of course, I do vary this strategy when need arises, but as often as I can, I adhere to it religiously. I ask the model to rank her outfits in order of importance. The outfit that is the least important is the outfit we start with for both model and photographer must warm up and the best imagery rarely comes at the beginning of the shoot. The outfit that is slightly more important than the warm up attire is the outfit we end with. By the end of a shoot, the model is often tiring fast, poses become lax, facial expressions are less focused and the law of diminishing returns is brought into play. In between these two outfits will be where the more treasured ensembles are set. I have found this stratagem to be one of the best ways to insure success and once set down, that wonderful sense of shared purpose has been established. During the pre-shoot meeting, I also like to discuss the backgrounds I have planned out in advance of the session. Planning out backgrounds is only possible if you know the content/concepts/outfits ahead of time, but the savings on time and energy are appreciable if the backgrounds are already in place. I have often times started conceptualizing poses prior to the shoot since I know the content and have planned backgrounds. All of this I discuss with the model, asking for feedback and ideas depending on the model’s experience, personality and comfort. Some models want to share the creative process while others prefer to leave the decision-making to the photographer. This is where flexibility of approach and chances for spontaneity come in. Assessing the personality of the model and her inclinations will allow for synergy and collaboration that can be spectacular.

After the pre-shoot meeting, shooting the sets becomes the order of business. Since you know the content, the outfits, the backgrounds, the point to the shoot and have a sense of shared purpose for the outcome of the imagery, it is now a question of managing time and energy. I have stated more than once in my articles that I reject the idea of machine-gun shutter clicking. I embrace crafting the pose, arranging lighting purposefully and making each shot count. As such, the frame count should be low for each set. Certainly you want to shoot a few frames for each posed tableau, but this is NOT like shooting a wedding. A wedding is a series of candid situations no matter how much the bride tries to script the day. Catching each candid moment in multiple exposures insures success. In a studio session, there are moments of spontaneous combustion, but most of the success created during each set is a product of careful craftsmanship. Since I am expecting a great deal of physical exertion from the model to hold a pose for a lengthy period of time, I try to make each set short and focused and the overall pattern to be diverse. One set might be primarily standing shots, while the next might be lying down. As such you spread out the use of specific muscles. I often demonstrate poses and explain why something works a certain way or happens under certain circumstances. These little breaks refresh the mental and physical energy of the model, help to create chemistry and are wonderful learning experiences for the novice model. Managing time and energy throughout each session leave everyone with smiles on their face at the end of the shoot. I try to keep studio shoots fewer than three hours and no more than four hours if possible. Marathon shoots do little but exhaust the model and burn enormous amounts of time that can never be recovered. Thoughtfully focused shoots that achieve precisely the desired result of the photographer and model are jewels of exceeding value.

One of the things I am most proud of when it comes to managing a shoot is my use of human resources. Since my earliest days as a photographer, I have encouraged models to bring an escort or two. While I understand the concerns many photographers have about the presence of escorts, the benefits far outweigh the drawbacks. I make it clear that an escort cannot interfere with a shoot, but there is a simple way to insure the no-interference policy. Get the escort involved and do not allow them to sit on the sideline like a grumpy gargoyle! I utilize escorts as assistants. They help me move and construct background elements. They help fix or move hair and attire. They fetch needed articles of clothing or hold a fan or reflector. They run smoke machines or apply skin glossers. The more involved the escort, the more the atmosphere is one of shared experience, the more jocular and joyous the mood, and the better the shoot will be. From a legal standpoint, having more than two people in the studio makes it so that no question of behavior can easily be raised. Finally, today’s models have been educated in school systems that preach “stranger danger”, buddy systems and all kinds of other “safety in numbers” thinking. The days of models coming to studios alone and being fully accepting of such conditions are long over. Making the studio a safe and comfortable place will also make it an efficient place. Upon meeting a model and her entourage, I thoroughly enjoy unleashing a broad smile and triumphantly declaring to a willing escort “I’m putting you to work”. It has been my experience, they love to help, the model feels supported and everyone wins.

After the sets of the shoot are finished, there is one more part to managing the entirety of the experience. I show my age and station when I state this, but I still prefer to sit down with the model after the shoot, review the images and make the image choices right then and there. Of course, if the frame count is ENORMOUS this becomes problematic, which is just another advantage to shooting fewer exposures as opposed to more. There are many reasons why sitting down to review the images together makes sense. 1) Giving the model some input allows the client to feel like she is getting what she wants. Too many photographers do not allow for any input. This is pure arrogance. No matter how expert, how learned and how sage you become, the photographer is part of the equation, NOT the entire mathematical expression. 2) Photographers are usually more experienced in composition, lighting, framing and all the other elements that make a first-rate image. Explaining WHY one image is superior to another is always better than unilaterally deciding for both. 3) All people are subject to their own personal insecurities and foibles. Helping a model to get past some of the those insecurities to see the bigger picture of the image as well as listening to her legitimate concerns will lead to compromise on which images will suit both party’s needs. Without your input, the image choice a model makes can often be an emotional one as opposed to an informed one. All too well do I remember a young lady remarking how much she liked a picture because her stomach looked so wonderful, but she had no idea her face was mostly obscured by a shadow from her hair because her focus was on her overmastering insecurity. Acting in an advisory capacity helps the model to make choices she will be thrilled with, as will you. 4) Placing images in an on-line storage facility is the popular method of allowing models to choose the pictures they like on their own. Beyond the problems of ill-advised choice mentioned in the prior points, the problem with such facilities is that they are not safe, no matter how strong the encryption. I hear daily stories of storage sites getting hacked and content being compromised. I back up all images to external drives which are safe from being co-opted so that all content is disseminated in a manner acceptable to all parties. Having a well-developed sense of customer service will aid the professional in managing every aspect of the shoot from beginning to end.

While the excellence of the imagery is deeply important, coeval with that level of achievement is the need to leave each and every client satisfied and happy. It is one thing to be a supremely talented photographer, but if you don’t get returning clients and referrals from those regular customers than something is amiss with your shoot management skills. The studio is a place of art and business, not a clubhouse. While a sense of fun and delight should prevail, people always want to feel like their time and efforts are well spent. Learning how to manage your shoots in the most effective manner possible will make you more successful and all who enter your domain pleased with their decision.

Want the best anti aging solution? Protect your skin from the sun! This, alone, can prevent aging for a long time. And that’s the reason even the best anti wrinkle cream contains SPF 15 or 30.

Why is there such a fuss about sun protection?

To get the answer, you must first know how sun damages your skin and induces aging.

Damage from ultraviolet-A rays

Sunlight consists of ultraviolet- A (UVA) and ultraviolet-B (UVB) rays. UVA are sun’s longest rays emitted right from sunrise to sunset. They penetrate your dermis, which is the layer of skin beneath the surface. Continuous exposure to UVA rays causes permanent damage to the dermis cells, which are also known as fibroblasts. This is the same layer that produces collagen and elastin.

When fibroblasts get damaged, the dermis layer becomes fragile, thin, and wrinkled. The cells can no longer produce normal collagen. This changes your complexion from a healthy, glowing one to a dull, sagging one. That’s why the best anti wrinkle cream contains skin brighteners to restore the glow of your skin.

Damage from ultraviolet-B rays

UVB rays are the most intense during mid-day. Both UVA and UVB rays can lead to aging spots, broken capillaries, and uneven skin tone. They kill keratinocytes, which are living cells on the top layer of your skin. When these cells die, your skin texture becomes leathery, dry, and lifeless. Such skin becomes thinner and the sallow-colored damaged dermis shows more.

Does all this damage and death of skin cells sound scary?

Well, you have been subjecting your skin to direct sunlight for years! Imagine the plight of your poor skin!

Remember; the 20’s and the 30’s is NOT the age for wrinkles. Yet, the women of today get them because of sun damage, carelessness in skin care, and an unhealthy lifestyle. Amongst all these, sun is a big factor.

In ideal conditions, which means no exposure to UVA and UVB rays, your skin would stay healthy and young till 40 without the need of hydroxatone or any other anti aging formula!

But the world is not ideal. You need to step outside the sun at any time of the day. Yet, you can still protect your skin from sun damage by following these tips:

• Always apply sunscreen after performing daily skin care regime and before putting on your makeup. Never step out in the sun without adequate sun protection.
• Wear sunglasses, hat, and sun protective clothing when out in the sun for longer hours.
• Read hydroxatone reviews to get a suitable wrinkle combat product that contains in-built SPF.
• Use an anti aging formula that repairs damaged fibroblasts so that they start producing collagen and elastin normally.

If you’re in the 20’s or 30’s, nothing is lost yet. Start protecting your skin from the sun. If sun damage is already done, use the best anti wrinkle cream that contains SPF. You may reverse the damage to some extent.

Hydroxatone ingredients make it the best anti wrinkle cream. If you want to read more Hydroxatone reviews, visit the specified link.

» Link to this page : http://www.articlecube.com/Article/How-the-Sun-Damages-Your-Skin-and-What-You-Can-Do-About-It/1771889

Our gorgeous cover model; Rachel Seeker, may be reached through her featured interview on GlamModelz Magazine. Rachel’s cover photo was photographed by: Rick Trottier of RJT Images.

Read all about or gorgeous GlamModel Brooklyn Sky, in her featured interview. Brooklyn’s cover photo was supplied by: Jim Jurica Photography.

Our gorgeous cover model; Alexandria, she may be reached through through her ModelMayhem profile. Alexandria’s cover photo was photographed by: Sam Rambo, SLR Photography.

Creating unique style that will set you apart from the rest of the world is not easy. But, it’s not an impossible task. If you apply the following steps in the process of creating your fashion style, maybe you’ll meet the desired look. So, take a look at the following suggestions.

Expose yourself to the fashion world

If you want to create original fashion look, you need a lots of new and fresh ideas. Exposing yourself to all kind of fashion happenings is essential for getting new ideas. Following fashion shows is great way for getting information about the latest trends. If you don’t have time or money to follow the shows, you can search on web for information. Also, you can find different fashion outfits presented in the fashion magazines or books.

Find your own dressing style

When you are trying to build your own fashion style, you must consider your physical characteristics and your preferences. So, take your time and think which style best describes you as a person (classic, romantic, dramatic or sporty style). As you know, each style has its own uniqueness. For example, the romantic style means wearing skirts and dresses. The sporty style means wearing comfortable clothes and natural fabric textures.

Maybe you are thinking:” I have a sporty style and I have to go to on a gala event.” Well, still you can stay true to your style and fit the occasion. If your style is sporty and you want to do on a gala event, choose some long pants, simple top and low shoes (elegant shoes).

Find the right colors for you

You must be aware of the fact that colors affect on your mood. Moreover, people respond to you depending on the color you are wearing. For example, if you are wearing red dress, you send message to those around you that you are energetic and attention grabbing person. On the other hand, wearing blue produces calming emotions.

Therefore, it’s very important to pay attention to the colors that you are wearing. To avoid making mistakes spend some time in front of the mirror and try to experiment with clothes in different colors. Try every possible combination of colors. Pay attention on the colors that make you look better. Once you’ll discover which colors are right for you, you’ll feel better and more confident while wearing them.

Create your own clothes

You want to wear a sweater that no one else has? If so, start looking for a good tailor. He can help you in creating your own style. If you find an extraordinary sweater in some magazine, just cut it off the picture. Show to the tailor and give him instructions about your “ideal” sweater. A simple change as changing the buttons on the sweater can result with amazing unique piece of cloth.

Use makeover games in the process of creating your own clothes

It’s a known fact that playing games makes people relaxed and more creative. Take advantage of this fact and find some makeover games that will be your “creative booster” for fashion ideas. If you want to design your own dress, search for that kind of games. If you want to create original handbag, look for that one.

Remember that creating fashion style is not an overnight process. It’s a slowly process. So, you’ll definitely need patience and time to create what you want.

» Link to this page : http://www.articlecube.com/Article/How-to-create-unique-fashion-style/1567533

Our gorgeous cover model; Christal, was photographed by: Dave Davis Photography.