International Model and Photographer Magazine (Version 2) by Christopher Clayton

$7.95 CDN | $8.65 USD | £ 6.00 EU

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PREMIE I S S U ER

INTERNATIONAL MODEL & PHOTOGRAPHER MAGAZINE

JUNE 2013 VOL: 001

ELYSE JEAN COVER MODEL INTERVIEW

5 HOW TO TAKE HDR PHOTOS STEP BY STEP 8 5 FATAL FILMAKERS MISTAKES A GUIDE TO SUCCESS 18 HOW TO BECOME A MODEL INSIDER INFO 22 TOP 10 + SIZE MODELS PSSST SKINNY IS OUT

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INSIDE

MODEL elyse jean 16 COVER interview

HOW TO HDR PHOTOS step by step

FATAL FILMAKERS 10 5MISTAKES guide to success

16 COVER MODEL

elyse jean cover model interview

TO BECOME 22 HOW A MODEL a must read

10 + SIZE 29 TOP MODELS skinny is out

34 PROP IT UP makes it better

iMP FROM THE PUBLISHER What is I.M.P. (International Model and Photographer) MAGAZINE ? Well, it ISN’T about the $1,000,000 a year film Maker or the Model who has been on 15 Magazine Covers...It ISN’T about the Oscar MAGAZINE Nominated Actor or Actress. It’s about President/CEO CHRIS CLAYTON the UNRECOGNIZED Publishers TALENT. The Film CHRIS CLAYTON / Maker who’s TIMOTHY SEARLES whole youth has Managing Editor been devoted to DONNA BRAYSHAW Creative Director entertaining with TIMOTHY SEARLES his films, It`s about Sales Director the upcoming TBA Model who has COVER dreamed all her life Photographer about that ONE BIG CHRIS CLAYTON BREAK... It’s about Model that Photographer elyse jean that takes 100,000 pictures a year and yet needs that big Break to get his first pictures Published. If your CONTRIBUTING People & a Photographer, Resources: Model, Actor or Graphics: Tim Searles, Damien Weir Film Maker who is Section Editor reading this and has TBA Executive Assistant: Tales yet to From be noticed TBA inthe theRim world, I.M.P. Sales: Magazine is ABOUT TBA Article Photographers: YOU!!! tba Writers: TBA Photographic Resources: TBA SXC.HU Photographers: TBA

Be sure to check out our website and services at: www.imp.com © 2013 all rights reserved. IMP Opinions and perspectives expressed in this magazine are those of the contributing editors and do not necessarily represent the views of the management and ownership. Reproduction in part or whole of this publication, without the publisher’s consent, is strictly prohibited.

ISSN 1920-955X Vol. 01 - 01 June, 2013

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Photograph: SantaRosa OLD SKOOL

You’ve seen them everywhere - online, in advertisements, on calendars and greeting cards. They’re mysterious-looking, hyperrealistic high-dynamic-range (HDR) photographs, and you may wonder why your camera doesn’t seem to have a setting to take them. HDR images combine details from multiple images taken at different exposures. With just a little extra work on your computer, you can make professional-looking HDR images yourself. Here’s how. The human eye is capable of capturing and processing a broad swath of light levels at any given moment. This allows us to look out on a world filled with bright spots and shadows, and to see an extraordinary amount of detail in both at the same time. Compared to our eyes’ hooverlike ability to suck up light, most cameras can only capture a narrow range of luminance.

How to Take (and Make) Composite HDR Photographs

High-dynamic-range (HDR) photography is a technique for increasing the range of light shown in a picture in order to create vivid, page-bursting photos that exhibit a distinct, often exaggerated, level of realism. These photos are usually created by combining at least three photos of the same scene, all shot with different exposure settings. The final picture takes the best elements from each photo and frankensteins them together into a picture that has more detail and pop than is possible with any single shot. This photo-mashing can be done with Adobe’s $700 Photoshop, but unless you are skilled with some of the program’s more complex Con`t Next page

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tone

mapping controls, it’s easier to use HDRsoft’s Photomatix Pro software ($99), which makes the process virtually turnkey. The first step is to pick your subject. The HDR effect looks best in scenes that have lots of shadows and highlights, such as outdoor shots at dusk or cityscapes at night (although portraits and indoor shots can look appealingly spooky). And if it’s cloudy out, you can create dramatic, ominous images of cumulus-filled skies. When taking the pictures, you’ll want to follow what I like to call the

goldielocks rule

Goldi locks rule: Shoot at least one photo that’s overexposed, one that’s underexposed and one that’s just right. You can change the camera’s exposure manually and shoot these separately (in which case you will definitely need a tripod, which is probably a good idea anyway), but if your camera has autoexposure bracketing (or AEB), as most new digital SLRs do, it will be much easier. AEB allows you to quickly and automatically snap multiple shots with different exposure settings. Once you’ve uploaded the photos, open up Photomatix, click “Generate HDR Image,” and select the pictures you want to combine together. impmagazine

Depending on how fast your computer is, the rendering process could take as long as a couple of minutes. And when it’s done, you’ll likely be less than impressed by the result, which will look murky and shadowy. That’s because the new image is a 32-bit HDR image, & LCD & CRT computer monitors just aren’t capable of showing the full range of luminance necessary to bring out all of the details hidden in these images’ shadows & highlights. To turn the photo into a more useful format, you’ll need to put it through a process called tone mapping, which brings these details into the forefront. You should now see a window titled, “HDR Viewer,” which contains a button labeled “Tone Mapping.” Click it, & your image will finally be transformed into a cool looking HDR

photo. In fact, you could probably just save this photo and call it a day. But it gets better. You should now see a new window called “Tone Mapping Settings.” This window will have a bunch of dials with labels such as “Luminosity” and “Color Saturation.” Playing with these will add life to your picture. Have fun pulling them in every which way and watching your picture morph from a realisticlooking image into a surreal landscape. When you’ve got a picture you like, click the “Process” button, and the photo will be rendered to your specifications in a savable format. One more thing: It’s easy to overdo it with HDR, and professional photographers often look down on the technique as gimmicky-particularly when it’s used to create shots that, rather than looking hyper-realistic, end up resembling crayon drawings. So while it’s fun to crank up all the settings to their messiest max, be warned that such images may not get the best response from the photorati.

1. Select a Scene HDR photography works best with scenes that contain varying levels of lighting, such as dusk landscapes or cityscapes at night.

2. Take Photos Shoot at least three pictures of the scene with a range of exposure settings.

3. Upload Into Application Load the photos into image-processing software to create an HDR image.

surreal landscapes Photograph: Stuart Richards

4. Tweak the Photo Give the image maximum pop through an image-editing process called tone mapping.

5. Save and Share The final HDR photo combines details from multiple shots. impmagazine

cd available now! al08@hotmail.com

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“If she’s amazing, she won’t be easy. If she’s easy, she won’t be amazing. If she’s worth it, you wont give up. If you give up, you’re not worthy. ... Truth is, everybody is going to hurt you; you just gotta find the ones worth suffering for.” Bob Marley

FATAL FILMMAKER MISTAKES: Do Any of These &

You’re Doomed Once your movie or documentary

is finished, distribution is the next step for most of you. But you should know, it’s a landmine out there that must be navigated carefully and strategically. Despite your probable desire to get on to your next film, now is not the time to be cavalier. With that in mind, here are 5 very common and fatal errors committed by Producers & Directors every week -- that you must avoid making -- when dealing with distributors. (And distributors absolutely hate that I’m telling you this.)

1. Do NOT Make Worldwide Rights Deals It saddens me every time a filmmaker tells me they’ve done this. Or when I hear about it from a colleague. Several times a month I learn about some Producer or Director who’s made a Worldwide Rights deal on their movie, giving ONE company both domestic (U.S.) rights and international rights. Everyone: Stop doing this. STOP DOING THIS. When you make this kind of deal, you are doomed, as you will never see any money beyond any advance -- if you even got that. Making Worldwide Rights deals is an unscrupulous practice by many, many companies. The reason it’s unscrupulous, is because there are NO companies (outside of the Studios, Mini-majors Con`t next page impmagazine

renew that contract. Or mutually agree to negotiate a new contract. But don’t allow any contract to automatically renew. (Exceptions: Maybe you make a licensing deal with, say, HBO for 18 months. And in that contract, they could re-license for another 18 months if they so chose, by paying another licensing fee. Fine. But this is Not only does this eat into your revenues and profits, it makes not an “in perpetuity” contract.) it easier for an unscrupulous distributor to cross-collateralize -- which is a fancy word that allows them to deduct any losses across the globe against any profits, thereby ensuring you’ll never see a dime. The only exception to not making Worldwide Rights deals is if it’s with a Studio or Mini-major, who is giving you a nice fat check as an advance for the World, and you’re satisfied with that advance. Because that advance is likely What does this mean, exactly? It means stop the only money you’ll see from a Studio or Mini-major. For signing contracts that allow distributors to more on why you should split up domestic and international recoup unlimited expenses. Like the mistakes rights when making deals, see my article here: http://www. above, I see this EVERY WEEK. Some filmmaker Distribution.LA/sales.html is thrilled to be getting a contract from some distributor, who has in the boilerplate contract that the distributor can recoup $50,000 or $100,000 or $200,000 in expenses. WHAT? Why does anyone agree to this crap? If you’ve made an independent movie, without stars, NO ONE is going to actually spend $50,000 or more on Once in a while I’ll hear about this happening, where some marketing & distributing your film. NOT GONNA filmmaker has made a deal for their film that never expires. HAPPEN. And if there are stars in your movie, The word for this in a contract is “Perpetuity.” Never make this okay, then maybe they will spend $50,000 -- but kind of deal. NEVER. Why in God’s name would you give up that will depend upon the level of stars in your the rights to your movie forever? Are you being paid millions movie, the genre of your movie, and the actual of dollars? If so, then maybe you would make such a deal. But Con`t next page absent a very large amount of money paid upfront, don’t do it. Look, your movie or documentary is an asset. A real asset. While the actual worth of any film is subjective to a large degree, building what I refer to as “pedigree” increases the value of your film. Producers & Directors who understand this concept (one of the things I teach), build the perceived value of their films, which can then pay dividends for the rest of their lives. (And longer.) Given you have or are spending two years or longer to make your feature, understand that you’re creating a real asset that should not be given away forever. The other thing to beware of? and a few others) that distribute directly to both the domestic and international markets. They either distribute ONLY domestically, and then farm your film out to someone else for foreign (and take a piece of your pie there too), or vice versa where they distribute internationally but then farm your film out to someone else for domestic.

3. Do NOT Give Free Reign to Distributors

2. Do NOT Make Deals That Don’t Expire

The other thing to beware of? Those frequent clauses in contracts that automatically renew the agreement, if you don’t end them before the auto-renew date. I see this all the time in filmmakers’ contracts. DON’T ALLOW THESE CLAUSES IN YOUR CONTRACTS. Remove them, strike them from your deal. If you’re happy with the distributor at the end of the contract period, great, then at that time, you can mutually agree to impmagazine

caliber of the distributor. (i.e., A tiny distributor isn’t going to take the risk of spending a lot of money.) Therefore, you must negotiate the boilerplate contract that you’ve received, and remove these high or unlimited recoupable expense clauses. You must get into the contract, what’s called “Expense Caps.” Every distributor in the the world knows what these are, so when you start negotiating this, no one is going to say to you, “What are you talking about? I don’t understand.” But it’s your job as a film businessman or businesswoman, to know about this and negotiate it. Do not rely on your Producer Rep (if you’re using one, and I hope you’re not) to inform you, because they won’t. Do not rely on your attorney to inform you, because, frankly, many attorneys don’t feel it’s their job to educate you. (This is not a slam against entertainment attorneys; just understand that they’re hired to review contracts and yes, you’re hiring them to help protect you. The really good ones will, and will help educate you along the contract negotiation journey. But there are many who are either lazy, or just don’t feel that education is part of their job.) Here’s an extreme example about recoupable expenses that is absolutely mind-blowing. I recently saw a copy of a contract signed by a filmmaker, who not only agreed to a recoupable expense amount of $200,000 in his contract with a distributor, but agreed to a clause that said: IF the distributor does not achieve sales that equals this $200,000, the filmmaker is financially liable to PAY the difference to the distributor, up to this $200,000!! I am not joking. Sound outrageous? Sound like only an idiot would agree to this? Well, I don’t think filmmakers are idiots, but they agree to stuff like this all the time. PLEASE STOP DOING THIS. For more about Expense Caps, view my 3 minute video on this page: Video Clips (The video clip is the one titled “Don’t Sign A Deal Without This!”)

please...

stop

doing this 4. Do NOT Marry a Crook Here’s what this means: Do your “due diligence.” Check out any distributor that you begin negotiating with, before you get “married” to them. Look them up. Don’t just be happy someone’s offered you a deal and allow the endorphins in your brain to cloud common sense. Research any distributor you might make a deal with -- before you sign a contract with them -- and make sure they’re on the up & up. You do this by looking at films they’ve handled in the past, and contacting those producers for appraisals. This is a professional courtesy most producers will do for other producers. Do not bother asking the distributor for references as they’ll just give you the good ones. You want to do a random sampling of those films that have been with that distributor for at least one year. (You can determine that by researching the film’s release date on IMDB, IMDBpro or Amazon.com.) I recommend contacting the producers of 3 other films, as this will give you a good sampling on how the distributor has performed. Not just in terms of sales made, but of revenues actually received by those producers, receipt of timely reports, and so forth. You MUST do this. Most Producers & Directors don’t. NOT doing this is playing Russian roulette with your movie. Unless you play Russian roulette with your life, WHY would you do it with your film? Con`t next page impmagazine

5. Do NOT Hop into Bed Because Someone Says “I Love You” This is similar to four, but here’s the issue: More than likely, you’ve spent at least two years or more making your movie or doc. You’re exhausted, you’re fatigued. You’d just like your journey to be over -- or at least be on to the phase of hopefully receiving accolades. And herein lies the trap. Some distributor comes calling, praises you and says your film is brilliant. You then immediately fall in love with this distributor, throwing all caution to the wind. You begin dreaming of big paychecks, getting on to your next film, and a career as a Producer or Director. But you don’t really know anything about this distributor. So... don’t immediately hop into bed and sign whatever is put in front of you. Do your due diligence -- and as importantly -- moderate your enthusiasm until such distributor checks out, and you get the contract fully negotiated so you’re not making a bad deal. I’ve lost count of the number of Producers & Directors who’ve made bad deals because they finally had a suitor. Seriously. I’m not making this stuff up. They were so happy to have a distributor court them and tell them they love their movie, that the rational part of their brain -- the frontal lobe -- stopped functioning and took a hike. If you mess up and make a bad deal and get burned, the likelihood that you’ll ever make another movie again drops at least 80%. As it

JUS

A M

D E I R R

is, the number of filmmakers who move on to a second feature film is already staggeringly low. Bottom line: Do not screw up and make a bad deal. Educate yourself about what a good deal is, AND what a good contract is. They are not necessarily the SAME thing. Final Words: You need to build various things into any contract with any distributor, including a “safety valve,” so that if things aren’t going well and the distributor is doing a poor job, you can get your rights back without having to lawyer up. Most filmmakers don’t do this, or even know to negotiate this. Thus my comment above about educating yourself. Unfortunately, too many don’t think they need to know any of this. And a number of filmmakers exhibit an arrogance that they don’t need to know. OR they think they already know the game when they haven’t a clue. If you’re one of these filmmakers, don’t allow your arrogance to destroy you or the film you’ve put SO much heart, time and money into. EVERYONE: Treat your distribution journey with care and diligence. Yes, I know you love the creative part of filmmaking, and this is where you’d prefer to devote all your time. But unless you’re a hobbyist who’s making films for the fun of it, this is a business, and your thriving as a Producer or Director requires you to learn and embrace all that comes after making your movie or documentary.

impmagazine

COME GET YO’

GROOVE ON

FUNK, MOWTOWN, DISCO, SHOW BAND monimusic1@hotmail.com

Q: Hi Elyse Jean. Were happy to be able to have an interview for our magazine, our first question is, What made you get into Modeling? A: When I was thirteen, I stole my stepdad’s digital camera and took pictures. After viewing them I decided I was going to be a model. I would start by taking my own pictures and sending them out. Q: How old were you when you first thought about a career in Modeling?

FEATURED MODEL ELYSE JEAN

A: I was thirteen when I decided I was going to be an international model and entertainer. I told my sister Shaye-ann I was going to be on the cover of maxim. And she said “no Elyse you’re going to be in playboy, cause it’s international. So that’s how that dream begun. Q: What was your first photo shoot like ? A: My first photo shoot was a seven hour drive to Toronto, which included three shoots back to back. Whoever said modeling is easy work, has never done it. It was tough. Yet a dream comes true to be standing in front of all those cameras, lights and professionals. Con’t next page

“

who ever said: “ Modelling was

easy.”

hasn’t done it

”

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Q: What was your best experience when you were first starting out and what were the highlights? A: My most valued experience in the modeling field happened on September 10th 2009. I was 17 standing in my kitchen when I received a phone call from an L.A agent who told me he was interested in representing me. After 4 years of rejections from numerous companies, this I thought of as a big break. I will never forget the feeling of knowing that this dream wasn’t just a dream, but a reality yet to come. Q: What was one of your worst experience in modeling to date? A: The broken promises. Hope that was given and taken away; from the managers who could not fulfill there side of the contract. To be signed twice and have it taken away for unjustifiable reasons was hard to take. Q: Where were you born? What made you move to Kelowna? Name some of the emotional highlights of the move and decision to turn professional. A: I was born on December 18th, 1991 in Saskatoon Saskatchewan. I moved to Kelowna when I was 20, to build and further my entertainment career. Since being here the amount of entertainment work is overwhelming. It started with a job as a go go dancer at one of the best clubs in Kelowna, to being in my first calendar all within five months of my arrival. I’ve always thought as myself as being a professional in this business. If you want this as your career I believe that you have to. Even at thirteen I knew I was well experienced beyond my years. I’m a big dreamer, and I will not settle for anything less than the best. Con`t next page

“

a phone call from an L.A agent

”

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Q: Where do you see yourself in 10 years? A: In 5 years, I plan on being known as famous entertainer. With a fulltime career as a singer-songwriter a model and a public figure. In the next few years I am focusing on building an image and eventually having a fan base. Meeting and working with lots of people, and eventually putting out music that is played on the radio. After 10 years of building a career as an entertainer I want to open JEM enterprise. A talent management company, who goes out and seeks up-coming driven and talented individuals, and helps build their careers. Q How supportive were friends and family?

tough “acarreer choice

”

A: My family never put me in modeling, dancing or any kind of lessons. They always thought of it more of a hobby. I imagine they’re still pretty scared of this dream actually manifesting. I’ve met lots of people along the way who have been supportive and extremely helpful; I plan on meeting lots more. When this all comes together I imagine I’ll shock a view people. Q: Your thoughts on Nude work? A: Speaking for myself, I wouldn’t shoot nude for anything other than playboy. I make this exception only because Huge Hefner is my idol. I respect everything that he has done in his career. I truly believe he is one of the greatest and I would be honored to shoot nude for playboy. I made this statement in a grade 8 year book! Q: What are your views on professional models being 20 Lbs underweight and what do you do to keep healthy? Con`t next page impmagazine

A: What I don’t agree with are the people who try to alter their physical appearance by unhealthy means. I think it’s sad and unnecessary. Along with a lot of other people I have always been small. Until modeling I as very insecure about being so skinny and through the attention I received I gained my confidence. I manage a healthy lifestyle by staying organized, motivated and true to myself. Q: What are your thoughts on agency representation for Actors and Models? Some people feel strongly that agencies are a waste of time and it’s just as easy to get work by representing yourself…what are your thoughts on this ? A: I have dealt with a couple different agencies. Through both I received no real work. Therefor motivating me to get out and learn what’s keeping me from doing it myself. I have got myself more work through just doing it this way than any agency ever did. However I now believe that I still have a lot to learn, a lot of skill to build on. I do think some representation is necessary and also I think some are just self-serving businesses and people. I think if your talented enough than you can attract a good one. Q: What would your advice be to a 14 year old with ambitions of becoming a model or actor? A: It’s a tough career choice. It requires a lot of work and a lot of sacrifice. But inside if you know that that’s who you are and that’s what you want to do, than I believe you should go for it. Go with eyes open knowing that it is a shady business with a lot at risk. That being said destiny is undeniable and as risky as it is, this is a great career to have if you’re meant for it. And I don’t think you should deny yourself of your talents or happiness. Elyse Jean, Thank you for taking the time to talk with International Model and Photographer Magazine….any last thoughts, advice or comments you would like our readers to know about you ? A: Whenever I feel like I haven’t “made it” and I feel discouraged I think back on my past and all the years of work that I’ve put into this dream. To give up now would be crazy, as far as I’m concerned this has been my true career since 13, I’ve just had side jobs to pay the way.

“

Whenever I feel like I haven’t “made it” and I feel discouraged I think back on my past and all the years of work that I’ve put into this dream.

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How To:

Become

Model

If you think you have what it takes to become a model, itâ&#x20AC;&#x2122;s quite possible you do.

But before you opt to jump into such a career, you must first learn about the modeling business.

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And hey, even if you’re not exactly Tyson Beckford, don’t worry; there are possibilities for less-attractive guys who wish to work in this field -- modeling for hair, hands, eyewear, etc.. Read on to discover how you can become a model.

Requirements The fashion industry is rather fussy about who will represent its product. As such, your body must fit into industry-imposed standards. As opposed to the women, male models usually start out between the ages of 18 and 25. Nobody’s looking for a baby face because male buyers are usually older than females. Also, unlike most women, you’ll be able to get work well into your 30s. The average height for male models is between 5’11” and 6’2”. As per your weight, it must be within the range of 140 to 165 pounds. The industry isn’t looking for bulging muscles, but you definitely have to be fit. If you have a lot of acne or acne scars, think about another career. You also need to be confident, responsible and organized to handle the pressure of being periodically rejected and working on a tight schedule. You must also be willing to relocate and travel to foreign cities.

Breaking in to the business The stories you hear about models are always the ones that resemble a fairy tale. This guy was waiting in line to see a movie when a talent scout spotted him and signed him up to his agency. Unfortunately, this is the exception. The way models get work is through an agent who gets a 10% to 33% cut. Con`t next page impmagazine

Some models can freelance, but that’s not how they’ll land the major gigs. An agent will get you bookings, as well as advise you on how your career should develop. Here are the most common ways to get signed with an agency. Open call: Once in a while an agency will hold an open call, opening their doors to everyone. On this specified date, anyone can show up at the office and wait their turn. When you’re called in, the people in charge will look at you and determine in less than a minute if you have potential. If you don’t, you’re dismissed. Forget about bringing professional photographs, they won’t matter.

Model searches, conventions & even scouting companies can help. Model search: Similar to an open call, a model search is held by agencies who travel to small towns looking for model gold. However, because they had to travel to your location, model searches usually require a small processing fee, something along the lines of $25 U.S.. You might be rejected, but you’ll get to meet industry professionals. Modeling convention: This option is perfect for someone who wants to improve his chances. Comparable to the model search, the convention has representatives from a number of different modeling agencies, which makes it easier for you to

kill several birds with one stone. However, you must have some serious money, because it can cost you between $400 and $4000 to attend such an event. Scouting company: A more or less economical method of putting yourself on the marketplace is to use a scouting company. For between $60 and $150, you submit your profile to them online and they’ll forward your information to major agencies. Reputable scouting services include www.modelscouts.com and www.minxmodels.com. On your own: Never underestimate your own marketing ability. You can call agencies and ask them when their next open call is. If one isn’t scheduled, ask if you can drop by their offices anyway. By calling many agencies, you might find one willing to evaluate you. Con`t next page impmagazine

GETTING STARTED To get ahead, you need exposure. Never cease trying to appear in local newspaper ads, television shows, magazines, and fashion shows. Eventually, you might catch the eyes of the right people. After all this work, there might very well be an agency interested in signing you. Before you sign, however, have an attorney go over the contract to make sure that you’re not getting a raw deal. Ask about the unions you have to join and if you’re allowed to take modeling jobs on the side. You could also meet with an accountant to see about tracking all the money you earn, if you deem it necessary. Modeling is a lucrative business and you don’t want anyone taking advantage of you. Once signed, the agency will make sure to build your portfolio, or the series of pictures you take along when going to modeling interviews -also called go-sees. You don’t need a portfolio until you get signed, so don’t waste money. The agency will also print composite cards for you; those are a series of pictures printed on a single sheet -- a business card of sorts. There are a whole lot of scams to watch out for... Con`t next page impmagazine

DON`T GET SCAMMED There are a lot of con men who will try to take advantage of wide-eyed hopefuls. The first thing you have to remember is that when people ask you for money, they’re trying to scam you. Of course, we’ve explored situations above where you had to pay, but as long as trustworthy agencies like Ford, Boss or Elite are behind such requests, there shouldn’t be a problem. Here are some situations that should rouse your suspicions:

PUSHY PHOTOGRAPHERS There are some photographers who will try to sell you a portfolio for thousands of dollars. Since most advertisers get their models from agencies, you don’t need a portfolio because the agency that signs you will do it for you -- for free. Additionally, you don’t need professional pictures when approaching agencies.

FLY-BY-NIGHT OPERATIONS These are agencies that don’t have many clients, have not been in operation for long, and are terrible at getting you work. What makes such agencies a rip-off is that they’ll ask you for registration and portfolio fees. No upright agency operates this way.

MODELING SCHOOLS

There are no certified schools for modeling. However, there are people who say that they’ve gained experience from such establishments. If you have money to waste, you can always give these schools a try, but you won’t learn anything that you couldn’t pick up from a book or the Internet. Con`t next page impmagazine

Shady Characters Con artists make a living by stroking your ego. There are people who will tell you they are managers and that they can get you work in exchange for shady methods of payment. Be wary of strangers who approach you claiming that you could be a model. More often than not, they’re full of it. Walk away. Living The Life If you’re serious about modeling for a living, consider moving to New York City, the modeling capital of the U.S.. From there, you’ll meet the right people who may get you work all over the world. Nevertheless, if you live in a secondary market like Houston, Chicago or Seattle, you might still find work there doing catalogs, TV commercials or flyers. Keep your day job. Modeling can be profitable for a select few, but most models need another job to make ends meet. Also, don’t spend everything you make because modeling isn’t a career that’ll carry you through to retirement. You need to plan your finances carefully so that you still have money left after you retire from the business. Finally, prepare yourself for an exhausting life. You will often find yourself in airports, traveling from one assignment to another. You’ll spend a great deal of your time at appointments with advertisers and you’ll be required to smile for hours on end and change clothes during interminable photo shoots. On the upside, you’ll get invited to the best parties and meet some of the hottest women in the world.

Strike a Pose Like any other job, modeling has its advantages and inconveniences. If you’re ready to live with both, jump in and have fun. Just remember what Ben Stiller said in Zoolander : “A male model’s life is a precious, precious commodity. Just because we have chiseled abs and stunning features, it doesn’t mean that we too can’t not die in a freak gasoline fight accident.” impmagazine

tim searles design | illustration | layout goodcomps@hotmail.com

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Top

10:+Size Models

Forget the skeletal, sickly girls who pass as fashion models these days. A true man knows that real beauty isnâ&#x20AC;&#x2122;t found in a size zero. A growing number of plus-size models are redefining what society considers beautiful, and the heroin addict-looking supermodels of today could soon find their jobs in jeopardy. Many of these plus-size models are relatively unknown, but weâ&#x20AC;&#x2122;re hoping to change that. Weâ&#x20AC;&#x2122;ve assembled a list of the top 10 plus-size models, choosing not only the hottest women, but also the most successful and ambitious. These healthy, full-sized hotties are riding the wave of public backlash against the walking coat hangers plying the runways, and we are lucky enough to come along for the ride. Chloe Marshall www.zimbio.com

Here are the hottest plus-size models to ever strike a pose. Con`t next page

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Number 10

Natalie Laughlin Risk-averse marketing types resisted using plus-size models for years, but as public criticism against anorexic models grew, it was just a matter of time. Liz Claiborne was one of the first to cave, featuring this brown-haired, browneyed beauty as their “Elizabeth” girl. The progressive company even went as far as to feature her on five massive billboards in Times Square. The Trinidad-born Natalie Laughlin, who fluctuates between a size 12 and 14, has been called “the Cindy Crawford of plussize models.” A big compliment for this big, beautiful woman.

Number 9

Maggie Brown This Hawaii-raised hottie got her big break after winning Tyra Banks’ horribly named Thick and Sexy model search in 2006. She quickly signed to Wilhelmina Models and has worked for Macy’s, Mervyns and more. Her exotic, Asian look and voluptuous curves keep this plussize model busy. She appears alongside Queer Eye for the Straight Guy’s Carson Kressley on How to Look Good Naked, something many men would love Maggie Brown to give them a real-life lesson on.

Number 8

Barbara Brickner

Barbara Brickner bareneccessities.com

This popular plus-size model was downright offended when she was first approached to do some plus-size modeling. Luckily, the lure of world travel, huge paychecks and fame convinced her to try. It turns out that was a wise decision, as she got her first big paying gig almost immediately. Since then, this Con`t next page impmagazine

curvy brunette has worked for clients like Eddie Bauer, Target and more. Now, she is focusing her energy on making her true dream come true: becoming a country music star.

Number 7

Crystal Renn Her name may sound like a porn star’s, but this beautiful brunette is undoubtedly one of the most popular plus-size models working today. Things weren’t always so peachy for this Floridian. As a 14-year-old aspiring model, she was told to lose almost 1/3 of her body weight in order to get work. That understandably triggered a series of eating disorders that eventually drove her out of the business. After some time for reflection, however, she regained the weight and rebranded herself as a healthy, voluptuous plus-size model. Crystal Renn remains the only model in her niche industry to have appeared in all four international editions of Vogue magazine.

Number 6 Kate Dillon

Kate Dillon was once a successful “straight” model (what plus-size models refer to their bony, malnourished colleagues as). There was always a big girl dying to get out, and she constantly battled with her weight. Despite starving herself and living off cigarettes and coffee, she was repeatedly sent home from shoots for being “too fat.” Her “eureka” moment came after she was hospitalized for gastroenteritis. She emerged gaunt and weak from her bed two weeks later, and ran into a colleague from the modeling industry who remarked that she looked “fabulous.” The beauty from the Beltway (Washington DC, to the uninitiated) got healthy, gained back all the weight she had starved off and used her contacts in the industry to relaunch her career as a plus-size model. The new look must be working, as she was named one of People Magazine’s 50 Most Beautiful People. Con`t next page Kate Dillon www.marieclairvoyant.com/beauty/beauty-crush/kate-dillon

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Number 5

Emme Aronson Some girls are just born big and live their lives battling it, and hating themselves in the process. Others, like Emme Aronson, embrace their big, beautiful selves and are that much more attractive for it. Born in New York but raised in Saudi Arabia, she deflected all the criticism usually thrown at bigboned teenage girls (including her own father, who famously used a black marker to circle where she needed to lose weight) and channeled all her anger into sports. She excelled at rowing, eventually earning a full scholarship to Syracuse. After a stint working as an anchor for a TV station in Arizona, she went full bore into modeling and has been wildly successful since.

Number 4 Mia Tyler

When your sister is all-world hottie Liv Tyler and your dad is diminutive Aerosmith lead singer Steven Tyler, there are a lot of expectations when it comes to your appearance. This sexy size 10, however, turns all those prejudices on their ear, flaunting her larger-than-life personality and curvaceous body in Vogue and Marie Claire. Mia Tyler also appeared on Celebrity Fit Club, losing 18 pounds but maintaining her buxom beauty. She has the bloodlines and the potential inheritance that truly set her apart.

Number 3

Toccara Jones This statuesque black beauty completely obliterates the tired preconceived notion of blond-haired, blue-eyed beauty. She first came into the public eye as a contestant on America’s Next Top Model. Competing against frail, starving waifs, the 5’7” citizen of Dayton more than held her own, claiming the show’s coveted “CoverGirl of the Week” title four times. Toccara Jones was eventually voted off the show, but she parlayed the exposure into a contract with renowned plus-size model agency Wilhelmina. Con`t next page Mia Taylor revistageorgina.wordpress.com impmagazine

Number 2

Whitney Thompson This vivacious Brit is proof of just how far plus-size models have come. No longer content to grace magazine pages or fashion runways, they are now invading beauty pageants too. Chloe Marshall is a finalist for the Miss England title, already having beat out seven presumably skinny girls for the title of Miss Surrey. Miss England will be crowned in July 2008, but Chloe Marshall already has a juicy contract with agency Models Plus to fall back on. She oozes confidence, is as bubbly as they come and has a bright future ahead of her, win or lose.

Number 1

Whitney Thompson Season 10 of America’s Next Top Model was when plus-size models went prime time. That’s because a 5’10”, blond bombshell in a size 10 dress beat out scores of bony, generic wannabe models to become the first plus-size girl to win. As part of her prize package, the Jacksonville native won a contract with Elite Model Management and a sponsorship deal with CoverGirl. Even though ANTM host Tyra Banks suggested Whitney Thompson was more of a “full-figured model” than a plus-size one, the zesty Floridian has already broken down barriers and paved the way to mainstream success for bigger girls who dream of the glamorous life of a fashion model.

Number 1

Whitney Thompson

Big Beauties The phenomenal success of the girls on this list is proof of how our views on beauty are changing. Some countries are legislating super-skinny models out of existence, which is admirable (if you aren’t a superskinny model), but also a bit unnecessary. Plus-size models are becoming increasingly prevalent. Once a niche market, they are now finding themselves at the forefront of fashion. It’s a refreshing change, especially for the long-neglected man who likes a bit of meat on his lady’s bones. impmagazine

Prop it up Please! Props are the unsung hero’s of film, theatre or a balanced photograph. They give the actor something to do or the model something to play with. If a prop is misplaced from one scene to another, It can ruin the film for you. I know it does for me. You know the one where they flip the scarf in one scene and it is hanging in the next. I will run it back or scream “They screwed up the continuity!”. It doesn’t matter what words the writer has put in the actors mouths, I don’t hear a thing because of the stupid scarf. It’s not so obvious in the theatre unless you go to the show several times. Even then you may not notice differences. As for photographs, well there is no such thing as continuity.

So let’s talk about the differences, some ways to make props, someways to make them work, not work, organize. We can call it props 101. We are going to start with film props. It just happens to be my favorite, and I always to what I like first.

2. We need several identical coffee cups. Remember, this is shot more than once and the cup may break. 3. If they want the cup to break, we need cups made of sugar glass or isomalt. ( we will cover how to make sugar glass in a future article). This brings me to the first rule of figuring out what props you need.

Rule 1 Put yourself in the scene. So here we are. George again throwing a coffee cup. Say the scene is in a coffee shop. Seems like a good place for it to happen. George is holding his coffee... wait a minute, the director wants it to be a paper cup with a sleeve. Yay, you say? Not so fast. Now you have to make sure that cup and the sleeve have nothing to identify it. Certain coffee companies take offense to their logo being used without permission. Con’t next page

I don’t have a lengthy history doing props in film, but I have worked under some remarkable Props Masters. That is the person who can make or break your life doing props for film. If your Props Master is organized you will be.

The Props Master: If you are working on your Indy film, you may be the Props Master, assistant, PA, Editor, 1st, 2nd and 3rd cameraman, grip and Scripty. Anything bigger and you need a Props Master. This person is hired and starts to work anywhere between one week to several months before a film start. Of course that all depends on the budget. The PM will read and reread and then read the script again until they pretty much have it memorized. The PA will list all obvious props e.g. the script says - George picks up a coffee cup and throws it. This tells the PM several things. 1. We need a coffee cup. impmagazine

Not so fast. Now you have to make sure that cup and the sleeve have nothing to identify it. Certain coffee companies take offense to their logo being used without permission. Okay now, why is George tossing his coffee? Well someone is in his face with an envelope of pictures. Another prop! Anything the actor touches, moves, even thinks of moving becomes something the PM has to account for. Now we have the envelope and pictures that have to be taken ahead of time, printed and put in a specific order in the envelope. Make sure you take a picture of the pictures so you remember the order. Your scene doesnâ&#x20AC;&#x2122;t stop there. Who else is in the scene? Your background people need coffee, maybe donuts, a waiter with a tray, or someone behind the counter wiping the counter down. Remember, anything that is being used is the responsibility of the Props people to supply, organize and ensure the continuity on. Put yourself in the scene, write down anything possible you may need in that scene. It is more than just a coffee cup. Conâ&#x20AC;&#x2122;t next page

If your Props Master is organized

you will be.

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Rule 2 Give them choices. So first George had a ceramic cup and now he has a paper cup. That is one set of choices you need to have available, but what if we went back to the ceramic cup? What color is it? I recently worked for director that hated green. It’s good to find these things out before you go shopping. Stay away from white and black. They just don’t film right. Not so bad if they it is just used in the background, but not for a hero prop. What’s that? A hero prop? I just threw that in to see if you were paying attention. A hero prop is any prop that is used by the actor, is obvious and is important to the continuity. The cup is a hero prop. The cloth used in the background is not a hero. The watch and jewelry worn by the actor is a hero, the computer used by the background actor is not. Back to choices. Besides color, there are style choices. Generally, at the production meetings, the director will give an indication of their vision. You still want to have at least 2 choices of color and style to give the director or the actor. In Indy films it will be whatever you could get at the thrift store. I had a friend who’s favorite phrase was “it isn’t in the budget.” In that case, they get what they get. I learned quickly that cheap isn’t always a good thing. I bought 8 watches. 4 were under twenty dollars each. Wahoo, what a bargain. Four watches were 60 dollars each. What a splurge. As it turned out, one of the cheap watches fell apart as we took it out of the case. Turned out to be not so much of a good buy. This leads to...

Rule 3 Buy several of the same thing. those 4 watches were 2 each of 2 different styles. So I had the choices and now the multiple. When something is established you just can’t stop in the middle of the shoot because it broke and now you have to run out and get another. One of the watches was used in a fight scene. We had to pad it so it wouldn’t hurt the other actor. The actor wore the good one and filmed while we altered the other. Use the safe one in the next shot, and immediately back to the unaltered. You also have to be prepared for the multiple shots in a variety of circumstances. For a simple shot of someone on a boardwalk eating an

ice cream cone, you better have as much as 3 gallons of ice cream available. It will melt and has to be replaced, they lick it and it has to be replaced. One scene can take hours to shoot. Make sure you have enough for every view possible. I try to make friends with the 1st AD as quickly as possible. They will let you know all the shots they will take. When you get more experience you will. Rule 1, put yourself in the scene, and be able to figure out the possible shots.

Lock it up! Now that you have all your props bought, you have choices and multiples, you are set to go. Guess again. You will need to prepare everything. Take it out of the packaging and make sure everything is greeked. That does not mean it is wrapped in Feta. Greeking means removing any indication of branding. Logo’s on the bottom of that coffee cup have to be removed. The computer Id on the top of the computer used by the background actor has to be covered or changed. Pictures have to be aged. Food may have to be cooked. Hey, don’t you need to make some coffee? These are all things that will come up in future how to articles. Get it ready ahead of time and on the day you don’t have to worry about it. That is where a good assistant comes in. The PM may work on the set and leave the assistant to get everything prepped. They usually work a day ahead. Day 1 the assistant should be looking at the breakdown for the day 2 scene’s, gathering up the props, prepping them and bagging them with their scene number. Every PM will have a different way of working so follow their lead.

Action Now that everything is ready to go filming can start. We will talk about process on set at another time. That will be props 102.

Enter Stage Left The beauty of stage props is that they only have to look good at a distance. They don’t have to stand up to the scrutiny that film or photograph props have to stand up to. Like film, they should be greeked. If someone is pouring a bowl of cereal, Con’t next page impmagazine

give them

choices

it is best to cover the box with your own design. For film it is best to have a graphic artist design something have it printed by a sign company. For theatre I run something off on my computer and glue it to an existing box. At a distance it doesn’t have to be pretty. It helps to follow some of the rules of film, by having extra’s of somethings. Actors aren’t known for their care and handling of objects. Never use real glass or liquid on stage. If it can break or spill, it will and if it does, it’s dangerous. You can’t stop the play to clean the mess. Once you have all the props, a table is usually set up and sectioned off. Sections are labelled with what prop goes in that square. The prop is picked up from that spot and returned to that spot. Everything is accounted for before the show and after. The whole design concept is decided on by the Set Designer. They will give the props person the colors and styles required for set. The props person in theatre makes fewer choices. The favorite thing I made for theatre props was a pig with an apple in its mouth. This one was a kids stuffed toy that I put paper mache over. It was hysterical. The fun part for me is figuring out how to make something.

Project Runway Every photographer needs a tickle trunk. For the new photographer starting out, there are basics. Does everyone have a boa or is that passe? I’m not going to pretend to k n o w what I don’t, and a photographer I am not. Oh sure I take pictures for continuity purposes but that has nothing to do with real photographers. I consider them artists. Like the filming crew, the people behind the camera’s have to have a good eye for content and form. Props help to balance a shot and give the model something to play with. Come on who doesn’t like a good body on a Harley. In this case the Harley is the prop. Give a child a teddy bear and watch your shot come to life. If you are doing a shoot for a company, you don’t have to worry about greeking out, but just like film and theatre, if you don’t have permission to use the logo, cover it up.

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makeup or costume people who often have their own kits. For example, I have a smoke machine. It’s not something a new photographer may have. You may only use it once a year so is not worth purchasing, but if you know where to find one you will enhance your shots on the cheap. So there you have it. Props in nutshell. I have mentioned a couple of future articles. I would also like to cover subjects like using weapons in your shoot. If you have a question or an article suggestion, please feel free to contact the editor of the magazine.

My name is Donna Brayshaw. I have worked in theatre props and The thrill for any shoot is finding cool unusual costume for 20 years and Film props things to use. To find cheap props, I haunt for 5 years. I live right here in the garage sales and flea markets. To find specialty Okanagan. items you may want to go to your local antique store. often they will lend you items. You can Lock it up! trade contra for your needs. Many theaters have props and costumes stored. They sometimes will rent or lend items for a short time. The local film commission has lists of people involved in the industry. They can guide you to people such as me who are listed as a props person, or impmagazine

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