by Tony Chiodo

Created on: November 15, 2008   Last Updated: December 25, 2010

There are three main things to consider: the setting, the model and the camera.

SETTING

Indoors:

A blank wall is always a good choice. This will focus all the attention on the model. Encourage the model to experiment- have him or her lean against the wall in various positions, with arms spread out at various angles, on one foot, faced away from the camera, eyes closed, stretching, winking.

If you position the model on a chair or couch just remember one of the big rules-get rid of clutter, background and foreground. You don't want distracting elements in the photo, like piles of magazines, trash, clothes, toys, etc unless they have a purpose.

Photographing by a window will provide a soft natural light. If the shadows are too dark, position a reflector to bounce light on to the unlit side of the face. This can be anything white, ideally a piece of foam core which can be bought at art supply stores. Regular incandescent lights will add a nice, gold tinged warmth.

Remember that men look ok with some shadows, as it accentuates their masculinity, whereas women usually don't want to look scary, so a more diffused light works best.

You may eventually want to purchase a basic studio lighting kit with soft box, umbrella, moonlight and stands for a very professional look.

Use different rooms. Create a scene-have a model pose with a suitcase and travel clothes poised by a door. Is this a carefree trip, or a dreaded journey?

Props can add an interesting touch. A bright colored scarf that the model plays with, wraps around her arms or hides part of her face with, is an example. Simple jewelry can provide a nice accent, an elegant necklace or bracelet, especially if it catches the light.

Try strange juxtapositions, like a formally dressed model lounging in an empty bathtub. It's often a good idea to make the viewer of your photo ask, "What's going on here?"

Outdoors:

Shoot early or late in the day, because mornings and late afternoons provide the softest, most flattering light. Midday light is the worst because it is harsh. If this is unavoidable it can be mitigated with the same type reflector as mentioned above. Cloudy days and shade are ideal because of the soft even light.

Back-lighting is perhaps the trickiest because your camera's meter tends to read the bright sunlight coming from behind, which causes it to overcompensate and underexpose the face. Avoid this by bringing your camera close to the face, taking a meter reading, then backing up to your original position

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