Figure Photography and the Photography Art Industry

Figure photography is most commonly referred to as one where a photographer takes a full body shot of a person, man or woman to use for commercial use. The more common of the two is of course female figure photography. Commercialism calls for the female form to be an enticing addition to promotional projects or in some cases, become the products themselves.

In this type of photography, the model is the co-creator. So respect is a must. It is imperative that the photographer chooses one who is comfortable in doing a project of this scale. Because of lascivious photographers, most women, even men are initially reluctant to become a part of this kind of projects.

But because there would be no photographs if there is no model, there are of course ways to find the right model for the job.

First things first, not all fashion models are good models for this kind of photography. Most fashion models are too thin thus making them look less fluid in the photographs. Some of this kind of pictures are nude photographs so ample curves are necessary to register really rewarding shots. In this trade anorexia does not sell. And even before the work starts, the photographer should set up a meeting with the possible model to talk about shaving, hair styles, tattoos, make-up, nail polish and other possible requirements that she needs to prepare.

Then there is attitude. As much as possible it is good to have a model that has done this kind of work. It is easy to find them through art workshop connections. But if a model is new to this kind of work, she or he tends to be a nervous so the photographer should be prepared. Professionalism is important in creating an atmosphere where the model can be comfortable to pose in the often difficult positions that the photographer might require. Remember, lewd marks are of course more prone to irritate the model.

Enthusiasm in the collaboration is also necessary. The model who understands what a photographer wants out of the work would be able to internalize the message and thus give more meaningful posses.

The photographer needs to remember that the model should not be overworked on the onset of the shoot. Especially if the posses done are relatively taxing, the photographer should allow the model to rest, if there is only one or allow for alternates so that the model always look refreshed and thus stunning. Remember, fatigue and agitation shows.

After the shoot, the photographer best settle the accounts and pay the model. Simply because it would make the model feel that her work has been rewarded well. It is possible that the model can be a reference when the work is published or sold. Nevertheless, the model should be of legal age, especially if the pictures are quite revealing and must have signed a release form stating that the pictures are the sole property of the photographer and that he can sell or publish it.
Figure photography is a very competitive industry but with the right pictures with the right model, a photographer can get places.

Editing and Highlighting the Eyes in Portraits, Editorial and Fashion Photography Using Photoshop

There are of course a million different ways to edit different types of photos using Photoshop. As a fashion and editorial photographer I use many different techniques myself depending on the style, lighting, clothing and skin tones of the model. There are some Photoshop techniques that I do consistently use though on a variety of shoots, this article I talk about specifically some different things I do to a model's eyes when editing a photo.

For me, the most important thing when I look at a photo are the eyes of a model, it can completely change the look and feel of the entire photograph. I use all of the following tips on some photos and then on other photos maybe 1 or 2 of these techniques. As a photographer, you need to look at the photo and see what it needs to make it a brilliant looking photo. Whether I use all or some of the Photoshop techniques below, I will do them in the order that I have written them.

Lightening the Eyes. Select the history brush and set it to "screen", then zoom into the photo and lighten just the color part of the eyes, don't get the dark outline around the eyes or the pupil. I will sometimes do the whites as well, just be careful not to go to crazy on this part or it can look a little weird.

Darkening the Eyes. Still using the history brush, now set it to "multiply", zoomed in on the eye still now darken the dark/black outline of the eyeball, then darken the actual pupil a little. Be very careful when you are working with the outline of the eyeball, make the size of your brush very small, you don't want to make this line "bigger" than it is, just darker.

Saturating & De-saturating. Many times when you are in a photo studio the white parts of the eyes will get red. Select the "sponge tool" and set it to "de-saturate". I usually use my tools at about a 10% flow so I can have total control and work little by little. Remember a lot of times, less is more when you are editing fine art photography. After you have desaturated the whites, I then select the dodge tool and put it to "midtones" and go back over the whites to brighten them a little. I will sometimes saturate the color part of the eye, it just really depends on the type of photo, eye color, etc.

Highlighting. Select the dodge tool and set it to "highlighting" and set the flow to 10%, then go over the eyes, usually once is enough to brighten and highlight them. I will also sharpen them up a little as well if needed.

These techniques work well with any type of eye color, but you won't see as big of a difference when editing really dark brown eyes, you will see a huge difference with blue eyes, green eyes, etc. As a professional photographer, you want to look at the photo carefully and make sure you didn't go overboard with the editing. And sometimes you can lose judgement of the photo because you have been staring at it for so long, sometimes I will leave the photo open on my computer and get up and take a break for a little while and come back to it later to see what my first impression is. Many times I haven't liked what I have done as much after I have had a chance to get away from the photo for a bit, and other times I have loved the photo even more.

Every photographer uses different techniques, it is important to try out different Photoshop techniques to decide what your personal style is and what works for you.