OMP: What is the process and program used to create the magazine layout?

Tim Jahns: My designer, Chris, uses InDesign as the graphics program that fits well with the requirements of Magcloud’s production. I don’t own that software and don’t know how to use it. He created a few cover ideas and some page layouts using images I gave him. He would present me with options for individual pages, two-page spreads and so on. Then I’d suggest modifications in the arrangement of images or text, and it would go back and forth like that until we had something that was powerful in its design.
I wanted to have strong design and variety in the magazine, with verticals and horizontals that could be in different arrangements — framed on the page, or bleeding off one or more edges, or spread across two pages in different ways — and using text in creative ways too. There’s not that much text, but I wanted to have a mix of small type in columns or unique placement as well as large excerpts from the text that have more visual power on the page and comment on the images in some interesting ways. The layout has to serve the images effectively but also have an artistic quality of its own.

OMP: How did you choose the photos and content?

Tim Jahns: That was a big challenge, narrowing down the choices. I tried to select the images I thought were the strongest while also having variety from the straightforward to the artistic or edgy. Many of the images were already in the final mix for the book, but I also thought the magazine could have a different spin to it, so I chose a number of images that might not be in the book. I wanted to show interesting images from the many shoots I’d done with Elyssa, so there weren’t too many shots from one location or look. I also wanted to show different moods and styles. At the same time, I had to keep the length manageable so it was within certain guidelines for the Magcloud production, both the number of pages and the fixed size they require.

For the text, I wanted to keep it pretty limited but still give readers some insight into my thinking about the images. I selected passages from the longer book text I’d written over a period of weeks, something that was still in need of more editing. Then I chose certain passages from that text to highlight in larger type here and there, to emphasize certain ideas about Elyssa and the work.

OMP: How do you plan to market the magazine?

Tim Jahns: Besides selling it through Magcloud, I hope to market the magazine through some online systems like Amazon, plus camera stores and other retail markets.

OMP: How does the MagCloud system work in terms of sales and commissions?

Tim Jahns: Magcloud has a base price, which is the cost of producing the magazine through them — a cost per page. There’s an option to do both a print version and a digital version. The digital is much less expensive. The markup is a decision for the publisher, so I can decide how much profit I want from sales there. They list magazines by category, and in this case I listed it in the Photography section.

OMP: What other advice do you have for models and photographers who want to publish their own magazine?

Tim Jahns: Think of it as a showpiece, something to be proud of and display as a representation of your best work. You can give some magazines out to friends, professional contacts and potential clients as a unique portfolio or promotional piece. Whether you sell a lot of them or not, you still have a nice print production that you can show off.

Read carefully and know all the details of the magazine production before you get too far. The best way to produce a pdf for the Magcloud site to print is using InDesign software, and I think the results can be even better if you have a professional designer create the pdf you will print from.

OMP members are invited to preview Elyssa: The Model as Muse at Magcloud.com
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As many of our members know, a makeup artist is a very important member of the creative team during a photo shoot. Their expertise and ability help photographers bring a vision into reality. Recently, the talented Natalia Zurawska OMP Member #250579 had a chance to showcase her skills during a photo shoot with photographer Matt Barnes, entitled “Rural Relations.”
“The shoot was extremely fun and adventurous. The models Sarah Jane and Joe Ring really put on a great show! Lots of fantastic acting, wardrobe and props, which were done by Matt.” Says Natalia.

Set in a remote location, the photo shoot is focused on a pot-bellied bumpkin and his corn-fed coquette. The precocious Sarah Jane and the provincially patrimonial Joe Ring were styled by Matt himself.

Hair and makeup were done by Natalia, and to create the look, she used Climate Control Hairspray by Tresemme, Face Atelier Foundation in #6, M.A.C. lipglass in Pink Poodle, Big Beautiful Eyes palette by Benefit, and nails were by O.P.I in “I Pink I Love You” and “Big Apple Red.”

Judging by the final photographs, we can say that the goal of the shoot was accomplished, which was “for people to think… be perplexed…”, as explained by Natalia. To view more images from the photo shoot, visit mattbarnesphoto.tumblr.com.

To see more of Natalia’s work, visit her OMP Portfolio, and you can get makeup tips on her YouTube Channel.

As most models have discovered, traveling is a major part of the job. In addition to allowing models to accept more assignments, it also gives them the chance to make people across the country aware of their work.

The more people are familiar with you, the more work offers you are bound to receive. Working with photographers in different cities gives your portfolio a variety of locations and styles, and also can be very profitable since you are new to each market and therefore will be more in-demand.

When traveling, the biggest suggestion I can offer is be organized – I cannot stress this enough! Personally, I have different folders in my email inbox for each city. When I am contacted by a photographer, I respond to their offer and then move the message to the corresponding folder of the photographer’s city/state.

Then, when I am planning to travel, I put up a notification on OMP, and also individually email each photographer who has contacted me in the past. Being organized makes it so much easier to inform them of my travel plans. In addition, you can post notices on message boards to promote your trip.

Another good idea is to organize what you are thinking about bringing with you and pack only what you need. When traveling, mobility is very important. I pack light because whenever I am in an unfamiliar area, I want to be confident that regardless of cancellations or problems I will be able to get around and take care of myself. I know it is tempting to pack everything you have, but it is best to limit yourself and really consider what will be used for each job. I make a list of everything to take so that I am sure not to forget anything and be caught unprepared.

Here is a list of essential items that models must take care of before any trip:

AIRFARE
Go online to get the best deals. One way to save money is to compare prices between airports. Most big cities have several airports, and you may find a cheaper fare depending on where the photographers are located.

ADDRESSES
Write down the exact addresses of your shoots, and ask ahead about the travel time you need to plan on between each shoot.

HOTELS
Make arrangements ahead of time. You will want to calculate how far the hotel is from your first shoot of the day, as well as how far it is from your last shoot of the day.

MAPS
Print out maps for the various areas of the city you will be working and staying in, as well as a map of the public transportation system if available.

REFERENCES
I usually ask for 3-5 model references from any photographer I have not worked with before.

SAFTEY
Have the numbers for the local police station handy. If traveling abroad, you should also look up contact details for the U.S. embassy. Also, call ahead to your hotel and ask the receptionist about the neighborhood that the hotel is located in to ensure your personal safety.

TRANSPORTATION
Gather the contact info of cab companies in the city, as well as the local Greyhound station and Amtrak station.

It is always a good idea to contact other OMP members in the area and introduce yourself, so that you are on familiar terms with other people in the area in case of an emergency. You can also ask local models and photographers for suggestions on where to stay, places to eat, and areas to avoid.

The most important thing to remember is you can use the resources and contacts available on OneModelPlace.com to not only make your travel plans but ensure the best possible experience while on the road.

Happy Traveling!

Tiana Hunter is a professional model working in the areas of artistic, commercial, fashion, and glamour, and she is a photographer as well. To see more of her work check out her OMP Portfoli
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In a class I taught for students in the professional program at our school, the assignment was to “create an attention-getting advertisement for jewelry using a model.”

For this assignment, I was to be the primary photographer, and three students were my “assistants,” but participated in creative decisions and also shot the finished setups along with me. We had three hours of studio time for this assignment.

As part of their learning process they set up the backgrounds, placed the lighting, helped meter for correct exposure, and actively participated in the creative decisions as to lighting, jewelry selections and placements, and model poses.

The jewelry was obtained by raiding my wife’s collection, and approximately 30 pieces were selected to be considered, which included some matched sets but mostly random items that looked somewhat similar. Of course, in a real situation the client would have very specific pieces that they would want to have highlighted. If the pieces were photogenic, the photographer’s team would likely have a relatively easy time coming up with interesting and dynamic images. If not photogenic, well, then the photographer would need to get creative with the lighting, the placement, the backgrounds, and anything else they might be able to come up with, in order to make the final images “eye-catching.”

In this case, the client (me) wanted the jewelry to be highlighted against the smooth bare skin of the model. We had the beautiful model Dasha wear a tube top, showing bare arms and shoulders, to better emphasize the jewelry. Three different combinations of jewelry were selected for the initial trials: a shiny black necklace with black earrings; a set of gold, pearl, and crystal ring, bracelet, and earrings; and a gold cross necklace with multicolored jewel insets and with a gold ring, also with multicolored jewels.

These images were to be semi-closeups, to better see the jewelry, but even so the far backgrounds made a significant difference. We found the plain white paper background to be overly bright, and the black background to be too dark, so settled on a black background lit with a Norman monolight, which provided a medium background with multi-shadows — this seemed to work well. The key light was an AlienBee monolight in a 60 inch round softbox, providing large soft lighting, with egg-crate louvers in front to make it more semi-directional. A third moonlight was used with a 40-inch umbrella as a fill light, about 1.5 stops below the key light.

The final exposure used was 1/125 s at f11, ISO 200, with the camera in the manual exposure mode. (Note: In the studio, I almost always use my camera in the manual mode, setting the exposure as determined by hand metering and confirmed with the histogram.) Initial images were examined, and it was decided that the ring and cross images provided the most impact for the advertisement. A variety of different positions of the jewelry and the model were then photographed, and then we were ready for the final step, post-production.

Part of the purpose of this exercise for the students was to emphasize how important the post-production is to the final image. In the vast majority of cases, whether for fashion, for advertisements, even for portfolio work or everyday professional work, no matter how perfect the model, the lighting, the expression, and the exposure, a skilled Photoshop™ or other image enhancing software person can make the image better! Of course, some images require a lot more work than others, and the photographer has to decide what level of post-production effort is called for based upon the final use(s) of the images and the fee involved or the importance of the image to the photographer.

To see more of Don Becker’s images, visit his OMP Portfolio.

• Details, details, details. Epaulets, pearls, rhinestones, and sequins were highly used during this time period to add glitz to an evening outfit.
• Slender silhouettes. While you could still see a full skirt, long hemline, and high neck, the robe de style dress featuring a drop waist and straight cut was the most popular style.
• Haute headpieces. To top off the entire look, add a whimsical & decadent headpiece from 1920′s Great Gatsby Fashion at ModCloth. You can even DIY a fabulous headband with ribbon, feathers, and gemstones!

Here is another neat bonus ModCloth offers everyone: The ModStylists team can put together a look-book specifically for you! You can visit the ModStylists here: ModCloth ModStylists

Planning your Shot

Since the shots for your composite sheet don’t have words, make sure each photograph itself tells the story. Even better, create a photo that shows more than one story.

If you want to present yourself as a mom and a businesswoman, the photo might show you walking up the steps to your house wearing a business suit, carrying a briefcase, while your child runs to meet you. Take your time and be creative in thinking of different scenarios for your shots.

Magazines are a great source of ideas. Find the magazine that will feature the look you want. For example: Parents Magazine is great for shots of parents and kids. For business images, look through investment magazines.

The ads can give you information on how to style the shot and what props are needed. Props are items placed on the set to make the ad look real. For example, if the ad is supposed to take place in an auto garage, tools, oil cans, towels, grease guns, and auto parts would be appropriate props.

The most important thing to keep in mind is to make the photos look like ads. Do not pose for the camera. Show a wide range of expression for the different photos.

Having strong pictures for your comp will give you your greatest chance for getting work.

Aaron Marcus has been a full-time actor and commercial model since 1986. His credits include “Law & Order: Criminal Intent,” HBO’s “The Wire,” and “The West Wing,” and ads for countless brands. Aaron has also been cast in numerous TV, movie and theater productions.

Excerpts from this article are taken from Marcus’ book “How to Become a Successful Commercial Model.” To learn more about commercial modeling visit: www.howtomodel.com.

The search for the official OMP Model Team has started!

We will be selecting a group of models to represent OneModelPlace.com in upcoming events, special appearences, TV and radio interviews, and more!

The OMP staff will interview potential candidates at various Meet-and-Greet events in the Miami area.

We are looking for beautiful, energetic and reliable models. So if you have what it takes, be sure to submit your information to castingnotice@onemodelplace.com.

Please include:
- Your name
- OMP ID#
- Phone number (and best time to call)

Selected models will be invited to attend the Meet-and-Greet at Villa Contenta, a luxurious venue on famous Palm Island.

When: Saturday May 11th 2013 @ Noon
Where: 10 Palm Avenue, Miami Beach, FL 33139

This is a great opportunity to meet the OMP staff and make connections for upcoming events. You will be contacted directly if chosen.

Space is limited so hurry!

Good Luck!

Natalia’s expertise is not limited to a specific makeup style, she loves variety, whether is natural-looking makeup, elaborate hair, body painting, etc., she loves it all. So far in her career, she’s had many amazing opportunities to work in various assignments. “I love my career and I know I am very lucky.”