I asked AI to write me an article about Studio Photography & Working with Models! Let's see if I agree..

So, I shall interject in red ink (or light) to add my two cents - Russ

Mastering Studio Photography: Working with Models

Studio photography is a controlled environment which provides the perfect opportunity for photographers to express their creativity and execute their vision with precision. Working with models in a studio setting is an essential skill for photographers aiming to excel in the commercial, fashion, or portrait photography sectors. This article provides a comprehensive guide to mastering studio photography when working with models, outlined through useful tips and techniques.

• Understanding Your Equipment

  Before starting any studio session, understanding and mastering your studio gear is fundamental. This includes familiarity with different lighting equipment such as strobes, softboxes, reflectors, and continuous lights. Knowing how to manipulate your camera settings, such as aperture, shutter speed, ISO, and white balance in tandem with your lighting arrangement will allow you to produce high-quality images consistently.
  
  WHITE BALANCE: If you shoot RAW files (and you probably should), then white balance is less important as it's something we typically tweak in post-production anyhow - I find Canon cameras have a very magenta bias.  A good white balance in camera will create a vibe, and said vibe can drastically change the mood of the image, so if something feels wrong in an otherwise well taken image, especially one that otherwise fulfils your brief, it could well be that the white balance is off.  While I say it's not important in terms of the finished image, I personally try not to neglect it either, as psychologically it could impact you during the shoot.  
  
  SHUTTER SPEED: I've spoken about shutter speed a million times in previous blogs when it comes to studio lighting.  It's so important for syncing the studio strobes correctly, but I'll touch on it again only briefly while assuming you're completely new to studio photography and aren't pushing the boundaries of lighting techniques, such as 'dragging the shutter'.  For the majority of us, we can just shove our shutter speed at 125 and then forget about it.  125 ensures that for most camera brands, the lights will sync in time.  You will not need a faster shutter speed because it's actually the flash of light that freezes your subject.  An image/exposure/photograph (pick whatever jargon you wish) needs light, and if the flash of light is super quick, then the camera can only expose it for that duration, and thus your shots will be sharp.. within reason.  Assuming you have a good lens and focusing system, if it's not sharp, the chances are that you've underexposed your subject, or there's too much ambient light in the room - but you'll be surprised at just how much ambient light you can get away with and it not affecting the image, simply because of how powerful strobe lighting is in comparison to continuous light.
  
  ISO: Your ISO should be as low as possible to maintain maximum quality.  There are times you might choose to raise it, but we'll stick to the basics here.
  
  APERTURE: aka your f.stop.  Your f number is purely creative but limited by physics.  You may not be able to drop your f.stop to a lower (numerically) number because it will result in the studio lighting being too powerful, and that in turn will then grossly over-expose and white-out the image.  The same goes for raising it, which you may do for groups of people for instance, but then the light could be underexposed if the strobe isn't high powered enough, so that's the one time you may consider raising your ISO.
  

  
  

• Pre-shoot Communication

  Effective communication with the model before the shoot can make a significant difference. Discuss concepts, poses, expressions, and the overall goal of the shoot ahead of time. This not only prepares the model for the task ahead, but also eases any potential anxiety, allowing for a more relaxed and conducive shooting environment.  
  
  Everyone is different, but it's solid advice, communication is really important.  You will eventually spot patterns in pre-comms and get good a reading of people, especially when it comes to hobbyists and how serious and committed they are.  Try asking a question in a casting that you want an answer for, and see just how many actually bothered reading the whole casting and took an interest in the details.
  

  
  

• Creating a Comfortable Environment

  Ensuring the model feels comfortable and safe should be a priority. Maintain professionalism at all times and consider the comfort regarding the studio temperature and privacy. A comfortable model is more likely to perform better and this will be reflected in the outcome of your photos.
  
  Again, solid advice, and people are all different.  You may flow and have chemistry with some people, but not others, and that's ok.  It's a good idea to get a reasonable read on people before you hit them with any dark humour.  Regarding the shoot itself, the model always maintains the power and is allowed to say no, and this is why your pre-comms should be good from the off, and that way you both know what you're expecting from the shoot.  This doesn't mean you can't be creative on the day and have real time ideas, and then run them past the model, assuming of course it's within their already stated levels.  If the model brushes off ideas that were stated during the casting and pre-comms, then they're the ones who arent professional to have not raised the issue, and that's on them.  They may just be there to get paid and/or for an ego boost, but it'll catch up with them because everyone in the industry talks, so while some may consider it rude being so forward and taking no shit, difficult conversations will have to be had, and it pays to be brutally honest as it will attract the right people who will enjoy working with you and whom will appreciate your clarity.
  

  
  

• Master Lighting Techniques

  Lighting can make or break your studio photography. It’s crucial to master the art of lighting when working with models. Understand how to create mood, depth, and character through lighting. Use key lighting to highlight the form and texture, fill lights to reduce shadows, and backlights to separate the model from the background for a dramatic effect.  
  
  Yeah, the long and short of the basics is just that. Even if you're a hobbyist photographer who just likes photographing pretty girls, watch a few YouTube videos and invest a little time in lighting, and then get frustrated with it, because ultimately that's how you'll improve both your lighting techniques, and more importantly, your eye!

  
  

• Directing the Model

  Even experienced models need direction to match the vision of the photographer. Clearly communicate your ideas and provide feedback during the shoot. Use understandable language and demonstrate poses yourself if necessary. Be open to the model's input as well, as collaborative engagement often yields the best results.

  I can be quiet when shooting if things are going well, or because i'm figuring out what I need to change in my head, but then I tend to try and work with more experienced models and only chime in if I need to - at the end of the day, it's their job, so they must be bringing something to the table too.  Modelling isn't just about being pretty in front of a camera, they need to deliver too, but equally that doesn't mean that your voice isn't important either.  Be as vocal when it's really working as when it isn't, as it encourages that line of poses and emotions that the model is going through.  Don't be afraid to ask them to slow down and tweak some poses, either.  One of my pet hates is the constant changing of massively different poses from one flash to the next.  Some models love to go crazy with each pose, but a good photographer knows that, some, if not most lighting set-ups will have limitations and very small pockets of light in which to work before the lighting is all wrong for where the model has now placed themselves.  We all get ahead of ourselves and do it, "Hey, look at this photo, can we try this one again, but just do this one thing slightly differently" - it rarely works the second time.  That's not to discourage pose flow, either, because the model may show you something that you really like that you can then tweak the lighting for after capturing the shot you wanted.. which they inevitably don't listen or pay any attention to, and then change to something completely different from the one you've just set up - it's sods law!
  
  It's the model's job to deliver on the acting and emotion, and it's the photographer's job to deliver on the lighting and in conveying what they want to achieve.  Harking back to the lighting techniques above, it'll be your job to advise the model on what the light is doing as she can't see it in real time, and only the most experienced models who take an active interest in photography really understand lighting to the nth degree, so they won't be able to mentally picture what you've set up without telepathy or communication - a few test shots and showing them what's going on could also do the trick and really help with their vision.  Without waffling too much in any more detail, it's the harmony of the both jobs being preformed well that create the magic, and while natural chemistry will play a big part too, some people just don't have it, but professionals can usually work around this factor by just being good at what they do.

  
  

• Experiment with Poses

  An integral part of studio photography is experimenting with different poses. Prepare a list of potential poses to try, but also be flexible and willing to experiment with spontaneous ideas that may arise during the session. This keeps the session dynamic and allows for creative discoveries that can enhance the final product.

  I kinda covered this above, right? Let's see if I can articulate it more simply, and much better-r-er.  Get what you need but allow natural flow to take place too.  Ie, at the start of each session/set, allow for the model to build their confidence with pose flow, then reel it in to what you picture mentally while encouraging, helping, and inspiring them to get the shot(s) now that they've warmed up.  After, allow them again to flow, and if you find something that is awesome but doesn't work with the lighting, you can change it up to suit.  You may end up preferring the new direction the images are going rather than the shot you had in mind.
  

  
  

• Focused Composition and Framing

  Be meticulous about your frame and composition. Depending on the type of shoot, different compositions can work better to tell the story or highlight the subject. Pay attention to how the model's body lines interact with the frame of your camera and adjust your positioning and lens choice accordingly.
  
  Again, this is one that comes with experience, knowing your tools, and also knowing what you want to achieve from your narratives.  Some people love being spontaneous and shooting on the fly with nothing in mind, but personally, I always have a vision, or at least an idea of what i'm aiming to achieve.  If i'm not shooting for something, then I'm shooting for nothing, and that doesn't inspire me.
  

  
  

• Use of Props

  Props can add a significant element to your photograph, providing context or adding intrigue to the composition. Working with props needs careful consideration and planning, ensuring they complement the model and setting without distracting from the main subject.

  Again, narrative!  We've do, however, have plenty of random props at the studio #winkyface

  
  

• Post-Processing Skills

  After capturing your photographs, post-processing plays a critical role in achieving the final look of your images. Learn techniques in editing software like Adobe Photoshop and Lightroom to enhance colors, adjust contrast, or retouch imperfections. Skillful editing can significantly elevate the impact of your studio photographs.

  "Photoshop is the devil, how dare you change people!  What about little girls who see magazines.." - well, I don't go to the shops trying to drive like Lewis Hamilton, and someone who isn't a professional model and hasn't been retouched shouldn't be comparing themselves to a model on the cover of vogue either. I hate to say it, but you're rarely going to be taking an editorial/magazine quality portrait image unless you have a great model, great light, and do good skinwork/editing.  Your images will be a million miles away from looking professional if you refuse to learn it!  Lewis aint jumping in a Škoda to compete with Max Verstappen in an F1 car, so no matter how much you try to justify it morally, yet are really just in denial of not being willing to put in the effort, you'll be left short while trying to play with the big boys.  Unfortunately, thems the facts!  I could take an incredible image that seems near perfect to me in camera, but knowing what I know about editing, and then doing said editing, then looking at the before and after; they're worlds away.  Imagine Bohemian Rhapsody recorded on a Dictaphone, sure the song is incredible, and it sounds amazing live, but the production will be crap on record unless it's polished.
  
  Photoshop is about a lot of little edits that polish, and changes that shouldn't be obvious to anyone who doesn't have a spot the difference comparison photo, yet they will elevate the narrative by removing distractions and focusing your eye on what's important.  When speaking to some one in person, you're not critiquing their pores while enjoying their conversation.  Their personality, their brain, their aura is shining through in real life, but in a still image, you have nothing but pixels to concentrate on, so that allows personality to be second best to a bitchy judgemental jealousy.. and we've all seen Austin Powers right? "Moley, moley, mole".  And THAT is why Photoshop is important, because you're removing the still image critique out of the still image, and that way people can concentrate on the narrative and the personality that is being conveyed.  Us humans are fickle creatures, which is exactly why we compare ourselves in the first place and cry about the concept of Photoshop making people 'better' as oppose to just removing the things that were caught as unflattering and distracting and then presented in HD.
  
  

• Continuous Learning and Practice

  The fields of studio photography and model collaboration are continually evolving, with new trends and technologies emerging regularly. Stay updated by attending workshops, following relevant online tutorials, and practicing consistently. Regular practice not only helps in improving one's technique but also aids in better understanding and handling models' dynamics in various shooting conditions.

  Regular practice and a desire to improve is a must, but I wouldn't however be so quick to follow trends unless you want to be just another cog in the wheel of the industry.  People learning and then following a trend that was made popular 6 months ago, will always be 6 months behind - and fashion changes on the regular and is fickle too!  People who don't give a fuck and who just develop their own style of what they love; they are the ones that will always stand out from the crowd.  I always say this to everyone, but your style is not what you do right, because everyone reads the same books and sees the same tutorials, and gets told to chase the same thing, it is, in fact, what you CHOOSE to do wrong because you prefer it that way.  
  
  What is important here is that you CHOOSE to do it wrong, but to do that, you need to learn it to disagree with it in the first place, so try to be self-aware and realistic!  Sure, you may make it as the guy who does minimal Photoshop and skin work because you're vocal about it being morally wrong, and you can pull that off because you've mastered your lighting craft while manufacturing every shot to be as flattering as possible rather than using the light to drive the atmosphere and narrative, but you sure as hell won't make it by ignoring Photoshop because you're scared of it. Pretending that's your reason because of insecurity, is not being self aware, or rather, it's just being naive.  You've got to put in the hard miles!  "I'm a natural light photographer because it's better" - anyone?  No, it's because you can't envision a light that isn't there and are scared of strobe lights.  A proper portrait photographer who understands light will use which ever lighting tool is available to create their desired atmosphere and image.
  

  
  

  

Mastering studio photography with models is a multifaceted discipline that combines technical skills, creativity, and interpersonal abilities. By preparing adequately, communicating effectively, and fostering a collaborative and respectful shooting environment, photographers can unlock an immense potential in studio settings. The goal is always to create a visual that resonates with audiences and fulfills the creative expectations of the task at hand. Every shoot offers a learning opportunity, and each interaction with a model could open doors to new creative possibilities, making mastery an ongoing journey rather than a fixed destination.