Featuring Veronica Velour

Feb.2015 #2

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NiA

PHOTOS BY DC LEE

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Zoe WestBy Andrew Bacharach

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V-Flat High Key Lightingby Alberto Rojas

How to Create the Cover Shoot from Issue #1

This is a simple setup. I use x4 foam-core panels, 8ft x 4ft. I tape them together in pairs using duct tape of the same color as the panel.I put them together to create a tunel. It can be a triangle or in a square shape.

For the tunnel with white panels: I use a strobe bouncing the light in a wall behind the tunnel, the light will bounce inside the tunnel giving the subject a very soft light, my settings are usually 1/250s , F5.6, ISO 100. I measure the light on the subject at f5.6, but depending on the skin tone of the model you can underexpose or overexpose a little.

When I use a black or silver panels: I use the same strobe bouncing in the wall behind. Add a second strobe on front of the tunnel with a snoot or a fine grid to focus the light on the model. I also usually use color gels on the strobethat bounce in the wall.

The foam-core and the silver panels can be bought at a craft store, like Michaels. Home Depot or Lowes offer insulation panels that are very cheap and work well.

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Veronica VelourBy Alberto Rojas

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Model Bio:

My name is Veronica. I am 26 and I was born and raised in gorgeous Naples, Florida. I moved to Fort Lau-derdale in 2012 to start pursuing a career change. I started modeling in October of 2013 and it immediately took off. I have put in a lot of time, effort, blood, sweat and tears to get where I am today. I also work in drug and alcohol treat-ment saving lives daily. This is very rewarding to me since I’ve been clean for the past five years after an 11 year addiction. I am proud to say I am now licensed to sell life insurance in Florida. I passed my exam last week and put in my hours with the state and now in the process of building my own 2nd form of employment. This year I will be traveling to New York

and California to hopefully land some contracts.

https://www.facebook.com/veronica.velour.7 http://www.modelmayhem.com/3222593

https://www.facebook.com/pages/Veronica-Velour/244665772370991

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Underwater Photography 

         Q:  What was it like shooting underwater?         A: It was challenging considering it was the 1st time I’ve ever shot anything like this completely underwater.

         Q: Was it hard to pose underwater?         A: Yes, especially with a trapeze. Trying to hold your breath/position yourself/ and make a graceful face was a little complicated.

         Q: How many hours did you shoot for?         A: Alberto Rojas and I shot 1300 shots in a 12 hours span and by the time we were done I had a severe headache from all the water but I knew the shots would be worth it.

         Q: How would you prepare for another underwater shoot?         A: This time I would prepare better as in holding my breath several times 2-3 days before shooting, eating a light meal beforehand, and practicing facial poses that stretch your face because while underwater it can be tense and strenuous to your face. Be yourself (in the nude) and know how beautiful you are . Use it to express your body artistically, and confidently.

         Q: What did you like most about shooting underwater?         A: I liked being able to stretch my body in odd positions that normally wouldn’t look natural, but underwater you look like you’re floating.

         Q: What was the hardest part of the shoot?         A: Going in and out, coming up to breathe every few shots, and trying to make your best facial expression          Q: Are you comfortable in the nude when it comes to modeling? What are some tips you could give other models?         A: I am now; it took about 8 months of shooting lingerie, skimpy swim-wear, and implied to get comfortable enough. I can still be a little shy if shooting with a photographer in the nude the 1st time. Alberto and I have shot many projects so I feel just as comfortable around him as I do at home.

Tips for nude modeling: 1. Be content with Your Body, 2. Express your deepest darkest desires from the inside out. 3. Realize it’s just skin, we all have it and stay open-minded.

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SAMANTHA SHANE BY SIMON DYJAS FOTOGRAPHIA

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Nobody likes DIVAS!

Pretty girls are commonly adored, admired, focused on, and tolerated. Starting from a very young age, one’s cuteness may become a tool to get what one wants. Whether you want to admit it or not, we are socially hardwired to value friendships, acquaintances, or

other forms of relationships with attractive people. It is a basic animal instinct. As a result, people who are receiving this attention may develop stuck-up, stubborn, annoying, or vain

personality characteristics.

For example, let’s say Megan is an attractive woman in early adulthood. She likes to talk a lot about things that interest her, perhaps what TV show she is into or what she did over the weekend. Because of her hotness, people generally smile and nod and don’t change the subject as not to offend her. If Megan is interrupted or offended, she may not want to be your friend. Over time, Megan develops a natural sense of entitlement to “have the floor”. She falsely be-lieves that most people are genuinely interested in her life. When Megan faces confrontation, she does not have the tools to ethically handle the situation, resulting in diva-like behavior. You might be scoffing, “I’m not a diva, this chapter definitely doesn’t pertain to me!” But even the humblest have some form of pride. Before disregarding your-self as a potential diva, let’s investigate what the definition of “diva” really is. Individu-als largely have high opinions of themselves, their interests, their point of view, their knowledge, or their style. A skilled musician would be insulted if a fan critiqued their guitar solo, a highly intelligent scientist would be snubbed if you questioned his hy-pothesis, a humble hippie would be offended if you suggested he tracked dirt into your house, and a model might become irate if you asked her to re-do her hair or makeup. The entire process of a photo shoot is a test of one’s character. Poise and cordiality are two rare virtues that speak volumes, especially in this industry of pride and persnickety. It all begins with your presentation of yourself, mainly your “bio” in your portfolio. Potential clients who read “I won’t negotiate my rates,” “I don’t like this style,” or “I don’t recom-mend working with so-and-so” often skip right past to the next model’s profile, as you have already exposed what is conceived as “diva-like” traits. Instead of expressing your dis-taste for certain things right on your first impression, list what you DO like about mod-eling, like “I take my modeling career seriously”, “Such-and-such are my favorite genres of modeling,” and “I really liked working with certain people because…” Your boundar-ies for what you don’t like can be communicated through pre-shoot negotiation emails.

By Kristy Jessica, The Rebel

When responding to an inquiry for a shoot, a hint of personality goes a long way! Through much trial and error, I have found the best way to respond to a message asking, “What are your rates?” is to thank that person for contacting you, acknowledge something about the inquirer’s portfolio or concept, include a cute or enthusiastic note, *then* I copy and paste my description of my rates, comfort zone limits, and availability. There have been many times where I simply just responded with my rates and comfort zone, and did not get a reply from the photographer. Perhaps they didn’t want to pay my rates? It’s possible, or MAYBE my email was perceived as stiff, blunt, or potentially diva-like. My intention was not to sound like a diva, and I don’t consider myself high maintenance at all, but to a stranger reading that email I may have come off that way. Including a touch of humor or a sincere compliment is my secret ingredient for yielding a higher rate of response for paying gigs.

Meeting in person for pre-shoot discussion or for the actual photo shoot is where your people skills get the most exercise. If you have not thoroughly discussed all the details of the shoot in advance, you may be confronted with an awkward situation. This reminds me of a body paint shoot I signed up for when I was twenty years old. The body painter was a friend of mine who invited me to be a part of this shoot, I did not ask for any details because I assumed he would have effectively com-municated my comfort zone requirements with the photographer who contracted the shoot to begin with. When I arrived, there was a male model there too. Before we both got painted, the photogra-pher wanted us to pose together as if we were boyfriend and girlfriend, nothing r-rated, but I was still caught off guard. I had a boyfriend at the time and didn’t want pictures of me with this random guy on the Internet! Then we both were body painted and I had to have the awkward discussion about photo-shopping my nipples and wearing panties under the paint. This would not have been such an issue at my current progression of comfort with nudity if there had not been a male model involved. We posed together in awkward, abstract angles. “Is it okay if we now paint this symbol on your chest? I took the time to make this stencil for this shoot”, the photographer asked.

“What is it?” “It’s the symbol of my religion”

I was a bit frightened that I would be used as a poster child for some propaganda, but he insisted that was being paid for this shoot, I signed the model release, therefore I did not have the right to refuse. At this point I had to make a choice; I could stick up for my entitlement as a free citizen and explain why I thought photo shoot was a load of honkey, or I could subdue my prideful urges and follow through with this controversial art theme. I chose the latter. But what if I didn’t, and I pulled the diva card? I may have won the argument and left the shoot with confidence, but those sorts of habits spread gossip of one being difficult to work with. The entire awkward situation could have been avoided if I had thoroughly communicated in advance rather than assuming my comfort zone would be respected. To avoid tarnishing your reputation, choose your battles wisely. Once you are deemed a “diva” publicly, it will become harder to book gigs, and you will likely not survive in the freelance modeling arena. There are times when you certainly must stick up for yourself, like when your safety is being jeop-ardized, or when someone you’re working with is clearly crossing a boundary that you had already discussed. Clear communication prior to the shoot should dissolve any possible conflicts before they arise, or discourage any predators from pursuing a “shoot” with you.

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INNA B-g Photography by JUSTIN YANGER

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50 Shades of Chrissy Marie

By Alan Ottenstein

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Prepared by MagCloud for Karamel Konfeta. Get more at shutterfunmagazine.magcloud.com.