Packing List for Headshots!

Rarely is it appropriate to need ALL of these things, and it’s not often necessary to go shopping, just use this as a guide. If your shoot involves print modeling looks, this may not be a complete list.

Women

Any favorite clothes that you look great in.

Jewel-Toned and Neutral Palette mostly - Color is good! 

Mostly solid colors, but some pattern can be good for layering

Simple things like solid T-shirts can often be best

Layering Pieces like jackets, cardigans, blazers

A business look or quirky look can be great if you tend toward supporting roles- possibly glasses 

A FEW accessories that might complete an outfit like scarves and jewelry

Any favorite clothes that you look and feel great in 

Neutral undergarments

Some character looks that are often suggested to me: vintage quirky, blue collar worker, waitress, CEO, lawyer, law enforcement, sex pot

Men
Mostly solid colors, but some pattern can be good for layering

Button up

Flannel

Henleys or waffle-knits

Solid crew neck T-shirts

Jackets, blazers, sweaters

A suit if this is appropriate to you

Some character looks that are often suggested to me: blue collar worker, outdoorsy guy, CEO, lawyer, law enforcement

How should an actor smile in a headshot if they have Braces?

I was thinking about this just now, so I thought I’d write a quickie blog about it. If you have braces, you have choices! You can absolutely show them off. You’re not going to fool anyone once you’re on set. And you really don’t want to seem sneaky or deceitful. Most commonly however, people do a soft, un-strained smile that doesn’t show teeth. Most often it will get the casting folks asking for more photos once they are considering you, but it might get you past the first round if they weren’t originally considering an actor with braces. Here are some examples. All photography by Elizabeth Wiseman

Models: what do clients want to see in your portfolio if you aren't a size 2?

The Key Elements a Formerly-Known-As-Plus-Size-Model Must Have in their Portfolio

These days a modeling portfolio for various sizes are all pretty similar. In fact with the expansion of middle sized markets and agencies, it’s all a blur between size 2 and 20. But if I had to break it down into a few must haves for girls with more curves- here’s where I would land.

1. Mix commercial with Fashion. Money-making models do a little of both. Making sure to have enough smiling shots as well as high-end quality creative images is important. If you had to lean one way, I would say more commercial is better.

2. Something that shows off curves and legs. Your body is EXACTLY why you’re being hired, so show it to your comfort level.

3. A beautiful headshot

4. Movement. Clients want to see that you can give the clothes a real show.
   
   

If you are new to the modeling world and are considering submitting to agencies and they say they want “digitals” instead of a portfolio, take a look here at a video I made about what those might look like.

PODCAST: SOUTH OF SCRUFFY WITH BEN FIELDS

Ben and I discuss the journey to Knoxville: family, hard-work, risks, and reward.

Conversation Between a Fashion Photographer and Top Model: Ingrid Medeiros.

Is Curve Modeling Even A Thing Anymore?

I learned so much and we trash talked the Victoria’s Secret Fashion Show. So That’s pretty much the best conversation ever.

The Power of a Photograph

I found this old email from a client that I couldn’t help but share here. It was from a shoot with a commercial model/actress, and we did a look wearing a cool jacket layered look. I sent her some proofs and received this. Heart melts. Love my job.

“Wow! Thank you so much Elizabeth! Your work is amazing. I especially love the first pic, with the boy scout jacket and you can see gene. This may be tmi but my father passed away 3 years ago and last night I had my first dream where he was in it and speaking to me. Then I wake up and see this. Thank you. You will never know how much it means. Thank you. Really look forward to seeing the rest of the pics!”

— e

Erica Silverman Actress and Model

PODCAST: REMOTE WITH ROB AND DAN

We Tackle the hows and whys of taking on remote and passive work in a photography career.

It was so much fun to be interviewed by My friend Rob Bennett along with my husband Illustrator Daniel Wiseman about how I’ve added remote and passive work to my career. Take a listen if this is a subject that interests you.

Journey to the Top of a Mid-Size Market

Does it make sense to try to become the best commercial photographer in Knoxville Tennessee?

I’ve been living in my little log cabin in Knoxville, Tennessee for about a year now. I had no idea what to expect when I moved here. I made sure I had work in any (EVERY) place I could just in case there was nothing for me. I also amped up my passive revenue streams in case my best laid plans collapsed completely. Could I commute to bigger cities? Would clients still call on me if I no longer live close by? Would the small airport and few direct flights be an issue? Here are the top five pieces of advice I had for someone moving to a smaller market.

1. Learn to love being part of a team. I had been on my own for 10 years scrambling for every client and profit margin. In Knoxville, the production culture seems more community oriented, and honestly, since I don’t have many clients of my own yet, piggy backing on the productions of others has been an amazing networking tool. Specifically I have found a lot of work being a companion shooter for really interesting video projects. I take the lifestyle stills- they film a commercial. You have to make sure you drop the ego at the door, but being willing to NOT be the boss at first could be the best way to meet new people and gain new opportunity.

2. Build your brand. In St Louis, people knew who I was (generally), at least my client-base did. I rarely bid for work or networked. My website sucked, and I had no online content to grow the brand digitally. I fixed this quick after moving. It was weird for me to be ignored by art directors when I requested meetings and to not get a ton of immediate satisfaction out of my online pursuits (y’all, PLEASE go follow my youtube… yeesh). I also had to rethink what my clients wanted HERE, not what used to work for me. My portfolio completely transformed. For more info about portfolio building see this.

3. Be patient. This is obviously an annoying piece of advice, but I mean it. I have this clear vision of what it looks like to build clients. Think of it as a rhythm. You get clients A, B, and C in year one. Yay! But they don’t need you again for 1 x a year for client A, every other year for client B, and you won’t see client C again for 4 years. In your second year of business, you only see client A again and scramble to add more people to your calendar. What you often forget is that in year 4 you’ll have ALL THREE of those clients again in addition to the dozen more clients you’ll have built in the mean time. Year four sounds awesome. Focus on the proverbial year four.

4. Do great work. Obviously, but people forget that you only have this one season of life to introduce yourself to the market. Hustle hard, say yes, and be present. EVEN when the work is less sexy than what you’re used to.

5. Keep some outside work or other revenue streams. I would be lying if I said that I could support myself completely on work I have found in Knoxville. I am continuing to commute to my studio I kept in STL, and I travel a fair amount for my bigger corporate clients. Yes, it’s been a little harder with a small airport, but not as hard as I expected it to be. I also have made my online presence more robust to hopefully add additional revenue streams and channels for later.

Hope this helps someone. And hopefully I’ll have more to add as my Commercial and Fashion Photography business grows here in Knoxville. Next Question: Should I get a studio here? We’ll see.

What Fashion Photographers Look for in a Great Model

No, skinny isn’t the first criteria. In fact, for most of my clients, an EXACT size isn’t really even in the top five. These are things clients and photographers care about when choosing a model:

1. The “Right” look for that particular job. I’m putting this one first because it’s often where we start when choosing a model. It doesn’t necessarily mean it’s more important than the other things. In fact there have been times when a client says “can you book So-and-so from Agency A? We love her look.” and I will say no, because she’s notoriously unreliable, or I had some other negative experience with her. Yet, being a good fit look-wise is very important. This can actually be freeing for models to learn because it’s NOT that we want the most beautiful model, we want the right one. Sometimes we need two models with contrasting looks, or a certain funky type. Or even maybe it’s that last year we used a redhead and this year we want something different.

2. Reliability. I would love to put this one first, but it’s usually second. You’d be surprised how difficult this is to expect from models. It’s not just that they don’t keep their commitments, it’s also that they don’t have reliable availability. They are Suuuuper busy with something else other than modeling and every time we request them the answer is no. I’ve booked models for jobs simply on the knowledge that I know they have a flexible schedule, they will say yes, and they will show up prepared. It matters.

3. A fit body and great skin. This is more important than a perfectly beautiful face or skinny body. A model that glows with health and self-care is in-demand.

4. A GREAT personality. Listen, modeling isn’t always easy, and it’s rarely quick. When you have to hang with a model all day, you want them to be cool. Models who are annoying or grumpy are a big no.

5. Creativity. A collaborative model that has their own knowledge and ideas is an asset and also helps me (the photographer) to relax and focus on my job so I’m not suggesting posing ideas all day.

6. Height, Beauty, Long Legs, Healthy Hair, Bright eyes, Pretty Feet, Nice Hands…. I am putting all of these things together because YES they matter, but are they the most important thing? nope. They are more of a formula that adds up to an in-demand model. I have yet to meet a perfect model. The great ones have all of the things listed in numbers 1-5 and then several of the ones listed in number six. But no one has all things perfect. NO ONE.

My Three Rules I Give Every Mom On Set

How to Not Be a Momager

or dadager?

I don’t mean to sound negative, I photograph a TON of kids, and in turn have a TON of parents in the studio. Honestly they are consistently awesome. They prepare, support, and bring laughter and fun. Regardless, I give every mom/dad I meet these three rules because before we step in front of the camera because I don’t know which ones will make the process uncomfortable, and once the bad behavior starts, it’s hard to come back from. From here on I will use the term “mom” to imply WHOMEVER attends a shoot with a child.

1. The photographer gives the direction, not mom, ever. This is a more gentle way of saying, “Shhh.” What trips up even the most well-intentioned moms, is that sometimes their kids don’t listen perfectly to me, and parents naturally want their kids to be good direction-followers. Before this can even be a problem I tell parents specifically, “Your kids won’t do everything I tell them to do perfectly, and that is A-OK. Even when I tell Susie to turn left, and she doesn’t turn left, don’t step in. She and I are both learning to communicate.”

2. Give your kiddo a break between shots. This can be several things. One thing I noticed some years ago is that as soon as the photographer calls “wrap”, moms jump in with 1000 questions. Mostly well-meaning and trying to see if the kiddo is enjoying themselves. This can exhaust kids and set them in a cycle of negativity. If the kid wants to share let them share, if they need a mental time-out, don’t bombard them. At their worst, some moms will sneak their kids off or go with them to the dressing room to give secret feedback. I can hear mom saying “I saw that you weren’t —————- “ whatever, and the kids come back out worse than they came in. In the end, I don’t need your help really unless I ask for it. Just let me do my job - I’m really good at getting what I need.

3. Never laugh at your kid. EVEN WHEN EVERYONE ELSE IS LAUGHING. This one might be the hardest. I want your kiddo to feel comfortable, silly, fun, happy. If they think someone, anyone, is judging them they will immediately collapse. Laughter from mom off-set is like a distraction laser. So even if I’m having them stand on their head and recite the ABCs…. Shhh. Even when me and the stylists and the other kids on set are all cracking up… shhh. I need that from you so your kiddo feels safe and confident.

I hope this helps! If it does you might head over to my YOUTUBE channel where you’ll find some more content about photographing kiddos.

Becoming a Fashion Photographer in a Small Market

Is it possible to be a profitable creative photographer if you don’t live in New York?

Sheyanne on the city streets of Milwaukee. Photographed by Elizabeth Wiseman

This is a question I get a lot. It seems like everything worthwhile is coming out of New York or Paris, and that there’s no way to even get a brand to notice a small-market photographer, much less come to their city to shoot. 

I have four tips to help get over this hump

1. Embrace the fashion industry your town DOES have. Every town has something - even a small boutique or a local fashion week. There’s someone else out there thinking about fashion. Start by getting plugged in, volunteering to be part of events, join clubs and do whatever you can so that whenever anything fashion related DOES come up- you’re the first name on everyones list. I have made a steady income being one of the only fashion photographers in my mid-size market. It’s one part big-fish-small-pond, one part winner-takes-all. 

2. See if there’s any viable reason why fashion brands might think of you over a New York photographer. Maybe you do something really unique with the landscape around you. Perhaps you are known for utilizing the light in your rural area in a spectacular way. You’d be surprised how often art directors are looking for one pinch of magic to build a concept around. 

3. Learn to scout models or borrow models from local agencies to build your portfolio, and once it’s built show it off! This might lead to jobs from areas surrounding yours or projects coming to your doorstep, but either way, intentional portfolio building is so key.  There’s so much more to talk about in this section so to learn more about this consider my tutorial on model testing. Again, If your town doesn’t have any fashion agencies at all, SCOUT your own! Or use people you know.

4. Think outside the box about what it means to be a fashion photographer. Maybe in Denver there are outdoor performance wear companies, or in Asheville, handmade knits. Perhaps in Montana there’s a group of young women who sing/perform/participate in pageants? There are lots of ways to be paid to make beautiful images of people with a focus on creative styling.

Let me know what you have in your small market and I will share with the world!

Promo Video for Business Headshots

Take a look at some of the ways I think and feel about this niche in lifestyle photography that I truly enjoy.

Posing Tips for Model Testing

Hey Photographers, I'm Sharing All My Secrets

The Accidental Food Photographer

I Moved to Knoxville Tennessee about 10 months ago and wasn’t sure I would have ANY work. I’ve always worked in fashion and fashion-adjacent industries, and I didn’t imagine this town had much of that.

I will say, I showed up with an open mind. A few old friends passed my name around and I ended up with a initial opportunities that all involved…. food.

Not fashion. Ok, but Food??

It didn’t bother me, but it worried me. What if I have no idea how to photograph a perfect tabletop, or when to ask the stylist to change the recipe?

It turns out that having a background in photographing people is a great basis for just about anything. It also turned out that during my ten year hustle that led to this, i actually HAD photographed a fair amount of food without realizing it. It was just buried in shoots with influencers and models. People are practically ubiquitous in commercial photography and so is food. So here’s some examples of the kinds of things I have been doing the last few months. Let me know what you think. The perfect balance of people and food culture.

A note to beautiful people: I won't photograph you, and here's why.

Ok, so I photograph a lot of beautiful people, BUT lately, I only do model tests for agency represented fashion models.

A couple of years ago I put a policy in place to only do editorial portfolios for agency represented models, and let me explain why: The modeling industry is brutal. The modeling industry is small. The modeling industry is confusing. I never ever marketed my model tests to expand to non-models even though I get weekly requests for senior sessions or other shoots similar to my model tests.

Here’s the deal. I can give you the most perfect portfolio in the world - things that are exactly right for you or the industry, but if you don’t have an agent helping you KNOW that the pictures are correct, they might not seem right to you. Maybe I KNOW You are commercial, but you think the portfolio is too smiley. Maybe I KNOW you will look best in a boyish boxy look, but you think the sexy tight dress is better. Maybe I Know that you probably aren’t quite right for the industry, but you have BIG dreams and stars in your eyes. I want to be part of a team - not the person you lean on to “make” you look like a model. So get an agent before you call me (or really any photographer for that matter), and if an agency isn’t calling you back, maybe I’m not right for you anyway? Maybe you should focus on the 4 billion other hobbies out there that are just as awesome as modeling. Being a model isn’t everything. It’s only one thing.

Mom: Breast Cancer Survivor Portraits

This is my mom. She’s been battling stage three breast cancer for the better part of three years now. I’ve been meaning to take her portrait since the FIRST time she lost her hair (this is #3 bald), but it was always a challenge- she was too sick, or I was traveling. But honestly, this was the perfect moment intended for this to take place. We kinda decided last minute, but I planned for a black background and had a whole setup. Drama! When we went to shoot, the board I had set up as only a reflector had this magic light on it from trees and windows- like fire. We took a few shots fully clothed and she decided to reveal the area of her chest where her breast no longer was. Her burns were shocking. I gasped, and she said, “they were worse. The nurse said they’re much better.” The strength required to overcome this disease, this length of treatment, this serious of side effects is overwhelming. Were both glad we documented this time in her life, but we hope we never return here

My Top Lighting Tips!

HOW TO CONTACT MODELING AGENCIES FOR MODEL TESTING

Originally Posted at PROEDU.com

August 20, 2019

How To Contact Modeling Agencies For Model Testing

Model testing is the foundation of nearly every career in beauty and fashion photography. From the swanky fashion photography on covers of Vogue Magazine and Harpers Bazaar to the flawless beauty photography on billboards and signage in Sephora - it’s a good bet every one of those beauty and fashion photographers started with model testing, and they likely continue to test with models today.

Model testing isn’t only for beginners, but it is the best way to start building a beauty or fashion portfolio. Many established beauty and fashion photographers continue model testing as a means to create new work, practice, or experiment with new lighting setups and equipment. For some photographers, model testing is a business. Just ask commercial fashion photographer, Elizabeth Wiseman. She actually built a business getting paid for model testing. 🤯

What Is Model Testing?

Model testing is an opportunity for a photographer and model to build their portfolios together. Don’t just think of model testing as a free, TFP (trade for print) photo shoot with professional models to make pretty pictures for Instagram. A true model test should serve a greater purpose and benefit the photographer, model, and modeling agency equally.

For photographers, model testing provides high-end portfolio work with professional models. For models, testing provides experience and exposure to a variety of photographers, styles, and directives. For modeling agencies, testing provides a library of fresh, marketable images they can use in their models' portfolios.

So what is the key difference? A photographer's goal is usually to showcase themselves- their technique, personal style, and creativity. A modeling agency’s only goal is to showcase their model. Of course, modeling agencies will appreciate your creativity and unique style, but your creative direction should never overpower the focus of the image which, to them, is always the model.

Modeling agencies want images that showcase their models' natural features and range of looks in an authentic and marketable fashion. Your job as the photographer is balancing the needs of the agency with your own. Of course get the images you need, but be sure to give agencies the images they need as well. This is especially important if you’re getting started. Fostering a relationship with the modeling agency should be your priority if you want to continue testing with their models. Play it safe the first couple times, and consider their needs first. It will go a long way.

How To Start Model Testing

In order to start model testing, you will need some work to show modeling agencies. This doesn't necessarily mean you need a portfolio full of professional models and high-end beauty and fashion photography, but you will need to convey your abilities as a photographer. Agencies aren't oblivious to the fact that in order to get models in your portfolio, you have to start somewhere. Models have to start somewhere too. Agencies bring on new models all the time, and there is a good chance they can pair you with a model who is also starting from scratch building their portfolio.

Maybe you've only ever photographed weddings, seniors portraits, or families. What type of work should you show a modeling agency if you don't have any models in your portfolio? For starters, you will need to show that you can photograph people. Portraits are important. If you only have landscape, product, or still life work, it likely won't be enough to convince an agency. If you don’t have any at all, start shooting some portraits.

Show portraits of interesting people and highlight their unique features and characteristics. Maybe it's someone with lots of freckles, a bride with a unique smile, or a child with remarkable green eyes. It could even be an old man or woman with interesting lines or wrinkles. Modeling agencies work in a creative space. They know how to visualize. Even if you don't have beauty or fashion images in your portfolio, they understand photography and will take notice of your ability to understand light and create portraits in beautiful and interesting ways.

How To Contact A Modeling Agency

Contacting modeling agencies can be intimidating, but by understanding their needs and speaking their language, they will see you as a peer and ally to their business. Much of the photography industry is all about relationships. Approaching agencies courteously, professionally, and with good intentions is the key to starting a relationship and creating opportunities for future collaborations.

What's the best way to contact a modeling agency? A well-crafted email usually works best. In fact, it's the industry standard. An email to a modeling agency should be concise and to the point. Be courteous of their time. Introduce yourself, your work, and your goals. Be open and honest if you've never worked with models or shot beauty or fashion photography. Talk about what you have done and what you want to do. Provide a link to your portfolio or website. If you have a specific idea or direction for photo shoot, include it (give examples), but be sure to use a collaborative tone in your language and express open-mindedness. Remember, a model test is collaborative. It should benefit both parties- you and the agency. Put the model and agencies needs first and it will go a long way.

MODEL TESTING | BUILDING A FASHION PORTFOLIO WITH TALENT AGENCIES

This fashion tutorial is available on the Unlimited Pro Plan and for download August 27th.

WHAT PETER LINDBERGH TAUGHT ME ABOUT FEMINISM IN FASHION PHOTOGRAPHY

PETER LINDBERGH, FEMINISM, & FASHION PHOTOGRAPHY

September 05, 2019

I grew up with Vogue Magazine on the coffee table of our suburban home. My feminist mother was always the best-dressed professor at the University where she taught, and she didn’t apologize for her engagement with fashion.

I remember her correcting my pronunciation of Chanel when I was about 11, “it’s SHA-nell, not CHAN-null”, she said, stopping my excitable babble about whatever new thing Vogue had unveiled for me. Years later, I am a fashion photographer, and I think that is in no small part a result of the unspoken permission she gave me to love fashion even when it is problematic.

THE PASSING OF PETER LINDBERGH

When I heard yesterday that Vogue photographer Peter Lindbergh had passed, I was surprised how much nostalgia it evoked in me, and news of his death was accompanied by a new-to-me quote:

“If photographers are responsible for creating or reflecting an image of women in society, then, I must say, there is only one way for the future, and this is to define women as strong and independent. This should be the responsibility of photographers today: to free women, and finally everyone, from the terror of youth and perfection.”

Friends who know me well sent me this quote as it made its meme-rounds, knowing these words sound close to things I have said and sincerely meant. My reaction to it was strong, an overwhelming sense of, “How is this older man doing a better job talking about my responsibilities to my gender than I am, a young-ish woman?”

While the feminist in me does not particularly like the fact that Lindbergh is saying he can “define” women for better or for worse, he’s not wrong. Photographers decide what is seen and valued.

We make choices every day that shape how others perceive things. We have a say in posing, location, and styling. We choose the models, angles, and lighting. All of these elements might inform your final reaction to the woman you see, and if the image is meaningful, you might carry her with you in your mind.

RESPONSIBILITY AS A PHOTOGRAPHER

Decisiveness is something I teach as a photography educator. I often say, “You are responsible; you make the call.” All of those images you see in magazines and advertising? Someone, a flesh and blood person decided that was a reflection of current culture. It doesn’t rain down from the heavens.

I ask that my students start to consider the story being told by each of the elements they use to create an image. After today I’ll be adding: "Be the one that decides that women are strong and independent."

Who else knows the beautiful things about femininity? What it feels like to be in a beautiful piece of clothing? How fun the costume-nature of makeup and beauty can be? And in contrast, who else knows what it is to be cognizant of our body and clothes at all times? What it feels like to be rejected because our beauty lies outside societal standards?

FEMINISM IN PHOTOGRAPHY

I so wish we were done. Here is where I will push beyond what is comfortable for me and possibly some readers: female photographers have an even greater responsibility, not because of patriarchal conspiracy, but because we know the female experience.

If we are, as Lindbergh says, “reflecting an image of women in society”, then who else knows women better than other women?

Moving forward, it will be difficult to push against what the industry has been putting out for decades, but I think there’s room for female photographers to use that insider experience to add authenticity and texture to the photo-story being told about feminism, women, their bodies, and their relationship with their own image.

Some of us have been reflecting the male experience with women’s imagery for too long - I say “some of us” intentionally because I include myself, and also there are many many female photographers out there working daily towards the very goal of better representation of women. And YET, the story of mainstream fashion photography is not only inaccurate, it creates palpable terror (as Lindbergh so memorably states) in the women that appear in front of the camera- my camera.

I can see a model’s expression change while she lists her flaws that I cannot objectively see and did not ask for a catalog of. I struggle to explain to her that ten years of photographing models later, I have yet to meet someone perfect.

A PHOTOGRAPHER'S DECISIONS MATTER

Only a few hours after Peter Lindbergh’s death, I now have a new charge to all photographers: is the image of women you are deciding to make, one you think your daughters and granddaughters will recognize as strong and independent? Is your image one that will alleviate some of that “terror or youth and perfection” Lindbergh brought to our attention? I know for a fact I often fall short of this charge, which is precisely why I am so excited by it.

Peter Lindbergh will be sorely missed.