June 2007
Happy June everyone! A couple Q&A’s
and then I address a BIG question I get from the smart pinup gals--“How
do I Choose a photographer?”
Hey Heidi,
My name's Amanda and I am a fan of your work. I first saw your pics
on Shannon Brooke's web site a few months ago. I worked with Shannon when
I was 15 years old (18 now) and I really loved the experience, I've always
been a huge fan of American pin-ups like Marilyn and Bettie, because they
are classy and sexy. I too would like to be a paid pin-up model while I
go to MI (Musician's Institute) for college, but I don't know where to
begin? All I know is that I have pin-up potential and would love help keep
the cheesecake image alive. What should I do?
Do you want to get paid gigs while you're attending school? Or to help
keep the cheesecake image alive? Unfortunately, they are more often than
not going to be separate. While there is some money to be made, it's minimal
and the pin up pool for clients and photographers to pull from is huge,
and ever-growing, so competition for the paid gigs is stiff. The best thing
to do is to do it because you love it- to keep it alive and to get to try
your hand at it. Then, if it is meant to be, the paid work will come. The
best way to get it going is to do the free stuff. Shoot with a local photographer
for a TFP shoot--get everything in writing and get a copy!--and build your
book, your resume and your reputation. Approach local businesses that might
use pin up models--a friends’ company, bands from school who are making
a CD, local hot rod shop, etc. Let them know you are available and give
them your website/email/myspace/online portfolio info. Build your experience
with free/trade shoots, and then the paid clients will consider hiring
you. They work the same way--get in touch and let them know you are there
and then keep at what you are doing. When its time, the work will come
back to you! Good luck!!
**Wait--I just reread about you shooting with Shannon. Use those pics!
Put her name high on your resume/credits and include that pic when you
submit to people! She is a very sought-after photographer by models and
clients alike, so that is a BIG plus to have on your side! USE it!! You
might get a client who hires you to try and get to her! You'd be surprised
how often that stuff happens!
Dear Heidi,
I have been building a pin up portfolio and I am only 17. I am very
proud of my photos and have worked with a few photographers. My friend
recently started a pro photography business and our photos are a big hit
on a few websites we are wanting to get published and get more publicity.
How do you get chosen for magazines and what are some other ways to get
more recognized?
Sorry to tell you, but since you are under 18, chances are, any magazine
using pin up photos won't be allowed to use your pics anyway! It's just
the way things are. (At least here in the US.) You're only months away
from being able to do pinup in print, though, so try to be patient. (I
know, it's hard!!) In the meantime, try having your photos sent to magazines
that feature younger girls to get some tearsheets and to add some range
to your book. You are the prime age for mainstream modeling, so it would
be wise to explore that a bit, even if its just to make extra $ to spend
on your cool pin up shoots!! You'll gain experience and do work that people
only shooting in the pin up scene won't have in their working “arsenal”--which
just means you'll be that much further ahead!
Once you're “of age” you can submit yourself and actually have a chance!
The best way to find out about magazines is to ask! Check out their websites,
search them online, or pick up an issue and look around at the masthead
for contributor info. If there is nothing listed, write or email the editor
or publisher and let them know you are interested in working with them.
They might keep you on file or get in touch right away, or they may pass
your info along to a staff photographer, or give you their photographer's
information. Each entity is different. Some rely on a one or a couple trusted
“staff” photographers to choose models, some are very hands on, and some
use entirely contributor photos. All you can do is ask and find out. Don't
be upset if you can't get in one door, work on the ones you can submit
to or apply to their regular photographers and be patient. You never know.
Somewhere that says no today might call you up to say yes a few months
down the line.
Keep in mind that magazine work rarely pays, especially in niche markets
like pin up/auto/lifestyle, etc. It's more about working with publications
you like for the wide exposure and good tear sheets. Submit to publications
you actually like and you'll have better chances getting in being genuine
than just writing every magazine on the newsstand. The more you do, the
more will come to you. Companies and “endorsement”/”spokesmodel” work comes
the same way. Contact the ones you like and keep putting yourself out there,
and eventually the ones that are your style will find you.
You know when a grown-up says, “That's a good question!” before babbling
away? Well, let me pretend I'm a grown up for a minute (“wait, what…
I am?”) and answer a smart question I get from the thinkin’ pin up girls…
HOW do you choose a photographer?
There are lots of things I look at when deciding if I want to work with
a photographer. First, I look at their work. I check to see if they do
any of the things I HATE:
“Pin Up” shots where the model's feet are CUT OFF!! Biggest pet peeve
I have! Either take a ¾ shot or shoot the whole damn model. Cropping
her foot off makes her look shorter instead of elongating her, as standard
pin up poses and angles do. Unless you are a freakishly tall and lanky
giraffe, you do NOT want a photographer cropping your feet out of the photo!
This drives me nuts! Its such a clear sign that the photographer
is not well versed in pin up photography. They have not studied the classics
or taken in the composition of good photographs at all if they aren’t able
to focus the shot around the model, not vice versa.
I also look at the composition in general--not just the feet! Anyone
can take a picture of a hot chick in retro clothes--it does not make it
a good pinup. A good pin up photographer stretches the model out in the
shot--making long, lean triangles and curvy S’s with her shape to flatter
the figure. A bad “pin up” GWC (guy/girl w/ camera) might take photos at
weird angles to be different, without caring how it makes the model’s face
or figure look. A good ‘tog can use inventive angles while still making
the model look good--it is, after all, about shooting the model, not just
what position you can contort into and still see the model in your lens.
The high-above angle seems to be popular these days, although it rarely
is used in a flattering way. A photographer who shoots from a lower angle
is going to flatter the model's legs and elongate her whereas the above-angle
will make her look squat and squished--maybe cute or funny for a photo,
but not usually pretty or flattering. If you want to look like you have
a big head and small body with short legs, use photographers who shoot
the high-angle above method. I don't like to, myself.
Lighting! This is more important that the angle or the crop- those are
just more basic things to learn than expert lighting. Since, as a photographer,
I certainly claim no expertise in that area, I recognize that it isn't
always an easy feat, and like anything else, you have bad days and good
days. However, when you look at a photographer's portfolio and the models
are consistently under- or over-lit, you might want to wait until they
learn a bit more before working with them. Sure, certain shots look cool,
or express a certain thing with extreme lighting, but for basic pinups,
you want to know that they will be able to flatter you, not “fatter” you!
As a model, you have to “find the light” (as Janice Dickinson would say!)
and it is up to you to work it in a way that you are putting your angles
into the light nicely. This only comes along with practice and experience--just
like it does for the photographer. You can see the difference between most
self-trained photographers and those who are well trained in a school,
usually first by the lighting. (There are exceptions, of course, that's
why I said "most.") Good lighting shows off the model well. Great lighting
enriches the composition and focuses the attention of the shot--a backlight
shining subtly on the model's curves, or a hair light behind the model's
head, to set her apart from the background. Look for those slight details,
and you will find yourself a photographer with a good eye. That's who you
want to collaborate and work with!
So, I talked about the technical things I look at in their photos. What
else? Well, I look to see their credits, of course. I am looking to see
if they have been published, and where. If they have only worked with magazines
I have already been in, its less likely I will be eager to shoot with them.
They aren’t going to entice me to shoot with them for clients I shot for
when I started 4 years ago. However, if they work with magazines I have
not worked with or have relationships with publishers that could use me
for other projects, than I am probably interested in seeing/hearing more.
I look at their clients. If they work with people I'd like to work with
but haven't yet, that is of more interest than if they've only worked with
clients I already have a relationship with. I also know which of those
clients and magazines pay, so I know whether they have just been submitting
photos for inclusion (like ANYone can do) or actually are hired by the
entity. Often a photographer will try to get me to shoot so they can submit
them on spec--and then they end up asking me to get them “in” because they
have no pull and no reputation as a shooter. If you need me to get you
published, then we probably aren’t suited for each other professionally.
At least not right now. Things can always change!
I also look to see how long they've been shooting, and how much they've
done in that time. If they've only worked with publications I have worked
with, but got great shots published in many outlets in a brief period of
time, I'll keep an eye on them. They just might be a go-getter enough that
I will be wanting to work with them soon because they've gotten into so
many new magazines quickly because they are hard-working and driven. I
respect that, and those are the photographers who will get you published-
they are constantly working on building relationships and getting their
work out there and seen.
I also look at who the photographer shoots. Are they all unknown models?
Or celebrities and unknowns mixed? This is a tricky one. I want to recognize
at least one model in their port as a pinup regular or pro, and then I
want to see how selective they are. Are they shooting every “hot” girl
out there or any old girl they can find? I like people who have their own
vision and work with a varied selection of models--from those I know to
those out of the scene and foreign to me. Anyone who works with just the
same models everyone else does comes across to me as someone who pulls
from the bin instead of looking for their own unique models. I feel like
if they are generic and uniform in their casting, they likely are in their
creativity, too.
Having pro models in your port doesn't mean that they were pro shoots,
either. I shot with some idiots early on, just because I saw Dita or Masuimi
in their portfolio, so it somehow legitimized them to me. Then I'd soon
discover they were just tools who knew how to sucker a new model. Lots
of shots that people have up in the ports of us psuedo-celebrities are
taken at events--not at shoots and not with the model's consent to publish
commercially. None of the models would know the photographer's name and
not one would list them on their credits, yet the photographer is bragging
about shooting that model/celebrity and even using it to solicit models.
Pay attention. If you see the model wearing the same ensemble on several
photographer's sites, chances are, that was either at a public event, or
the model did a “Shoot Out” early in her career. (Shoot outs are group
photo shoots where multiple models and photographers get together to build
their books, often they pay to get in. These are good if you need
a portfolio to start, but otherwise they can be iffy. The photog pays someone
else to shoot you and a gazillion peeps shoot on the same props, sets,
etc. and the models shoot the same look with multiple shooters.) There
are several photographers I would NEVER work with again that are on my
website and in my book. A new model going through my photographers looking
for someone to work with would likely think I have “approved” them and
for the most part, I do, but you may never know who's on a model's resume
that she dislikes.
So how can someone try to tell which is which and pick out the good
photographers to contact? Look for photographers who have relationships
with models or performers--people who shoot someone multiple times over
the years. It shows they treat their collaborators well enough for them
to keep coming back. The only pinup people I haven't shot with more than
once either: live too far, we haven't had good timing/both too busy, or
I wouldn't come near them again with a 10’ pole. (Some non-pin up photographers
I've worked with just once are great, but we don't do similar-enough work
to get an excuse to shoot again.)
You can also tell a lot from the text I use to describe the shoot on
my site. If I do my happy-talk about everyone and everything BUT the photog,
there might be a reason. I try to keep it positive, and I don't like to
talk publicly about my feelings about a photographer because usually it
just means we aren’t a good match together, not that they are a bad photographer
or mean person. There is one photographer that I don't like and had nothing
but bad experiences with, but they are well loved by many models and fans
who are new to pinup. I would never shoot with them again myself, but the
only people who hear my opinion on this person are friends who might work
with them- when new models write and tell me they are working with this
person- I congratulate them! Just because someone isn't my cup of tea doesn't
mean someone else won't adore working with them. We just aren’t well suited
for each other. Then again, if you have model friends, ask them to dish
the dirt- they might shed some light on how people handle their business
and you can save yourself some trouble. Don't be afraid to talk and share
your experiences with other models, just be professional and not catty.
Stick to the business details--how they handled the shoot, how they treated
their models and crew, how well they stick to their promises. You will
be able to help friends steer clear of creepy or unprofessional peeps and
refer them to the quality folks!
(I can literally only think of one person I'd publicly comment on--to
warn models to be careful and stay away, but cannot right now due to pending
litigation--which tells you how bad it has to get for me to voice my opinion
publicly!)
That said, I'd like to take a moment to thank the amazing photographers
I have been lucky to work with. There are so many that I've learned
from and worked with and played with. Your talent and vision have helped
enrich my work and my life. You help make me a better model and more content
human being, let alone adding beauty and humor to this world through your
art! Thanks for playing photo with me over the years, ya’ll! I loves’
ya!
Love and Pin-Ups!
Heidi Van Horne
www.HeidiVanHorne.com
Bonus Photo #1!
Photo: Danielle
Bedics/White Rabbit Studio
Hair and Make Up: Jennifer Corona
Bonus Photo #2!
Photo: Danielle
Bedics/White Rabbit Studio
Hair and Make Up: Jennifer Corona
A little about Heidi: "I starting acting
in Texas at age 13, I have worked and trained as an actress in film, TV
& commercials for most of my life, as well as working behind the lens
on various projects. I have been shooting my own retro pinups since late
2003, when I started doing self-shot photos (just like Bunny
Yeager did!) with a self timer and a tripod in my home. Since
then, I've been on the cover of 3 books ("Hot Rod Pin Ups" by David
Perry and MBI Publishing, "How to Be a Dominant Diva" by Avalon
Press, and the new "Modern Vixens: World of Winytiki" by Octavio
Arizala and Goliath Press) as well as being featured on the
cover of 3 (and inside 2 other) Pin Up Calendars for 2007, magazine covers
and countless layouts, features and interviews in counter-culture publications,
as well as a few mainstream mags. I've gotten to work with tons of amazing
companies and photographers, including original pinup, pinup photographer
& living legend, Bunny Yeager--shooting on the same beach
where she and Bettie Page made
Pin Up history! Living in LA pursuing my acting, I've kept myself busy
on the side shooting the genre I love the most- and I'm thrilled to see
how the niche has grown and grown worldwide!" |
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