2015's Greatest Models Part II with ShyAng3L

For all the reasons she was the 2013 Model of the Year and Cover Model of Sircus Magazine Issue 5, are the same things that make her one of 2015's Greatest Models. There are few people we have worked with as much as her. In fact, there may be no one we have worked with as often as ShyAng3L. But to be fair, we do tend to give preferential treatment to individuals that are extremely professional, talented, diverse and quite frankly have agreeable personalities.

It is her ability to shift from one visual persona to the next that makes her so intriguing a model. One shoot with her can often appear to an outsider to look like ten different shoots if we so choose. She fully engages what we're shooting on a emotional level. If we're doing dark and moody she will emote dark. If we're shooting light and fashionable, then she will emote light and fashionable. No one else changes as effortlessly as she can.

Yet, with all her abilities it is her stunning beauty that captivates us the most. But she doesn't flaunt it. She is not even fully aware of how insanely gorgeous she is and that makes her even more attractive than most people I know; people who actively model day in and day out. Additionally, she is the sweetest person I've ever met. Her voice is barely a whisper but when she models no words are needed. Her body, her posing, her skin, face, hair, her extraordinary and infinitely youthful look screams volumes.

Even after more than three years she can still be a little anxious at the start, (those first few seconds). But given just the right amount of coaxing, she swiftly goes right into character.  Despite her namesake, I don't necessarily feel that she is shy. She is simply gentler and kinder than most people we've worked with before. But if you need a bad ass harlot for a look or a fairy princess, ShyAng3L is definitely the model to have because not only can she do the look, she is the most creatively malleable person I've personally ever known. She can do both on the same shoot and within minutes of one another in a way that is both beautiful and convincing.

She is not going to push back and tell you something isn't possible. She will not argue with you and tell you she won't do it or try it. If it's stylish, tasteful and she trusts you, then she will do it and do it well. In fact, no model I've ever had with the exception of maybe Trexie Dorrell has successfully done and mastered as many genres as ShyAng3L. Fashion, beauty, cosplay, lingerie, art, creative and swimwear are just a few of the things we have done together over the years. We have done more themed shoots together than anyone and I have thoroughly enjoyed each and every one of them.  She would bring me an idea or two and we would just do them - no questions asked on why or how. She was simply that kind of person and model. You want to do everything for her because you know she would excel in all that she does. As a result, we would always make extraordinary images. As of yet, those images still remain some of our best ever.

Unfortunately, we suspect that as time carries on our sessions will be fewer and farther between. It is simply the way of things as we scale back our operations to pursue different graphic design and video projects and she travels more as the demand for her talent continues to grow. Yet, as far as modeling and friendship goes, ShyAng3L can return again and again as much as she desires and we will always try to make time for her. Her talent, beauty, versatility and kindness has no equal. She remains and will likely always be one of our most revered collaborations.

Photography and the Pitfalls of Emotional Attachment

You thoroughly enjoyed yourself. The photographer was a total joy to work with. You had so much fun. He made you feel confident, beautiful and quite frankly it was a total blast. This guy has an awesome sense of humor and he (or she) is so chill and laid back. But the main reason you enjoyed working with this photographer may or may not be the one the matters most. But that all depends on what you wanted from your experience.

From both sides of the camera, I believe we can safely admit that no matter who your are, creative synergy and getting along always makes for a better overall experience. Additionally, how well you vibe with people on set creates a more collaborative and open process thereby resulting in better results. But does it always? Can everyone say that just because they had so much fun on a set mean that the results are exactly what they wanted or needed? Or is it fair to say that their emotional experience tainted the perception of the results? 

I’ve seen cases where photo subjects so highly praise someone that I wonder if they truly took the time to actually compare the results of the project to what they might expect from someone else. I read phrases like, “she was so nice.” Or I hear ‘he is so cool and easy to work with.” Or the most recurring expression is “he(or she) is my favorite photographer.” Why is that I say to myself when I read those kinds of opinions? I can only conclude that the experience; the emotional element clouded the perception of the results in an industry where the results are paramount beyond all other considerations. I think the simplest way to express what I’m driving at is simply asking yourself, “do you want to have a good time? Do you want to get fantastic results? Or do you want both? But beyond all other considerations, can you be emotionally detached enough when it’s over to judge the results of the project completely and objectively. I think everyone would want both but that is not always what happens. I believe that runway models have the greatest temptations. They really like posting everything as a carryover for being caught up in the elation and overall experience of flashing lights, music and hundreds of eyes peering at their every single step. But it doesn’t mean that we have to see or need to see every single step of them in a picture with bad light walking on a stage from the beginning to the end of the show. We get it. You were in a show. You walked out, turned and went back. But the feeling of it and rush of it spills onto your Pages and your media. It’s okay. You love it and you’re good at it. Yet, it’s a perfect example of a slippery path into the boring and the mundaneness of senseless barely inspired repetitiveness and you wonder why you’re not fetching the shares, posts and likes you once garnered.  

I’ve had photo shoots when the experiences were not always stellar. Good, fair, average, weird, unusual, acceptable, incredible, magnificent, extraordinary, mind boggling awesome… we’ve have had them all. Then sometimes the talent isn’t as polished or experienced as I might have believed. The talent may be dismissive, condescending or just didn’t play well with others. Or a pet peeve of mine was flagrantly violated by an assistant or another creative on the set. Yet, despite those few and very far between bad ones, at some point I had to detach myself from my feelings and really judge the results of my efforts with this person or group of people. Why? Because in this image driven industry and culture, results are all that really matter and only the ideal manifestation of those labors should make it into a portfolio or page for public viewing. 

You just shouldn’t ever put a picture out there because you “Like” a photographer or other talent when a single image can be a career altering decision from a would-be project. You only put out what your emotionally detached mind decides can positively influence and advance the public’s perception of your range and talent as an artist. On the other side of the coin, you can’t always disallow yourself the option of releasing an image because you “Dislike” someone either if it will further your ambitions. I’ve become absolute best friends with someone from a single shoot but that doesn’t mean I let that friendship cloud my creative critical judgement. I show his or her best and in doing so hopefully show my best.

Fortunately for us, my best collaborations paid and unpaid have come from people I genuinely like for various reasons. Of course, I’ve had one or two bad apples; people you just don’t creatively mesh with or just a bad collaboration for whatever reason but it’s natural that some people don’t get along. But I still have to give it 100% because every single shot is my reputation. People have certain expectations and I must exceed them or at least live up to them. The image industry doesn’t get a free pass or a day off. Every shot needs to be on-point. Therefore, a stream of mediocre pictures just shouldn’t be shown just because I couldn’t decide if the image was great or that I think the model I worked with was great. It’s easy to confuse the two and both things do not fetch the same perceptions in the public’s eye.

Then the question comes up, how do you know if it’s not a great picture if you can’t judge your own state of objectivity? You ask someone who will be honest with you and not someone who will agree with you for sake of your feelings. Ask a colleague that will give you honest and constructive criticism. I could have been tempted to fall into the “Like” trap. I’ve liked models so much as friends that I may have wanted to release any and every picture because I thought SHE was fantastic. You catch that? “SHE” was fantastic. It’s the image, the output, the result of her that people will see. The public doesn’t see the process or the experience. They see the product. But as a designer my every single working day is spent giving and receiving critiques so I have learned to think objectively as a publisher and a marketing professional and not just as an artist. I place what is good for that model’s portfolio and my business identity and style above all else. When he or she gets premium bookings as a result of what I’ve done then it makes me feel like I’ve given them something more and something they can’t get anywhere else.

So when I may find myself photographically crushing on someone, I give myself some time and step into business mode and ask, would I want to hang this on my wall? Would I buy this or do I want to work with this model, videographer, makeup artist, stylist or photographer as a result of this picture? More importantly, would a pay a premium to work with anyone from the project that produced this art? 

It’s challenging to think this way but the hardest roads to travel have the best things at the end. Right before you hit “Post” or “Publish” on your social media Page, pause and think before you do it. Is it the best I can offer right now? Do I really “Like” this or am I caught up in the elation and excitement of it or gushing over the person that helped me to create it? Don’t let sentiment cloud judgement. 

 I still ask myself the aforementioned questions when I post something and I’m sure I’m not always right because art is still objective in large part. But I think it’s still smart to ask myself, “Is this really a fantastic image or was it just the experience of creating it or was it the model or stylist I created with that I find so fantastic?" Is it possible these things can both occur. Possibly. The point is not to mix up the two and continually create and publicize poor work due to an inability to emotionally detach. 

Now would you continuously work with someone who repeatedly produce amazing results with you but that person wasn’t all that agreeable? More to the point, do you think you would even give the images a second look and find any of them gorgeous? That’s an interesting question but you’ll have to decide for yourself. I guess when you think about it modeling and photography isn’t all that different than any other gig when an actual career is at play. You will have people that you like, people you love and people you just don’t ever want to see again along the way. If you’re running a day to day business you learn to work with the good and the bad and try to consistently release good products and services that will grow your customer base whether you choose to do it for fun or not. Your favorite customers aren’t always the most profitable customers. In fact, most cost you money. Yet, the most needy, most pain staking solid spenders are often the most profitable. The bottom line is when it comes to business and in life, it’s best to put your best foot forward in work, fun and play. Avoid the embarrassment of saying that a "photographer is so awesome" if his work is not up to par. Avoid writing things like he is so "easy to shoot with" and the you put up dozens of strange automaton-looking images because you “like” him as a person and have not objectively critiqued what might be the fall of your once premium visage. You can keep a friendship without the bad publicity but you can’t get your reputation back that easy. 

If you’re just funning and enjoying yourself, then there is something to be said of pure unleashed elation and not really caring what anyone says. That has it’s place to. Just be mindful that it’s importantly to keep some objection perspective on what you’re doing and what you’re publicizing thru the rose tinted eye-ware you may be peering through. 

Helios Graphic Design

http://www.heliosimaging.com/Art/Design/20465785_ppxswK

Sircus Magazine Issue 6 is Coming

Schedules and release dates have been moved, changed and updated but we are working diligently to bring you Issue 6 of Sircus Magazine.

There will be new faces and new pics and if all bodes well, one of your fav faces (and body) will be back for i.6 if not soon. We will be keeping you posted. But if you can't stand it like we can't wait, Issue 5 is here NOW at www.sircusmagazine.com. Don't wait!

Until then, enjoy this incredible pic by model Kristi Wright. As always she is definitely easy on the eyes and born to do it; modeling that is.

We're looking forward to more Kristi and of course we're super excited about the new things and new faces coming to issue 6. It's bound to be a blast.

If you've missed Kristi as much as some of you have expressed, you can catch her spread right now in Issue 5.

Stay tuned....

Chanel Alexis for Sircus Magazine

Untitled, a photo by helios00 on Flickr.

See her in Sircus Magazine Issue 5
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Lingerie

Untitled, a photo by helios00 on Flickr.

Beautiful blonde photographed by Helios.

ID4

ID4, a photo by helios00 on Flickr.

Sexy ID4 pic of model and fitness enthusiast Trexie Dorrell

Balloon Fetish

High Key Fashion Capture

It wasn't the original intent; that is, to do this capture in high key. But after seeing her in this bebe cocktail dress it became inevitable.

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Such phenomenal skin beckoning a white on white scene so as to keep the distractions minimal and focus chiefly on the model (as if that would be a problem); and do to such a nearly flawless caramel complexion, even against white on white that dress screamed with it's silvery highlights and accompanying silver heels.

This was a three light setup if memory serves and I didn't spend a great deal of time pining over the metering. Amazing how that happens; those on the fly captures giving even more than I could ever have imagined.

It certainly doesn't hurt that she's beautiful; being next to flawless. 

The Beauty Dish

The beauty dish is one of the most popular light modifiers in use. It is the preferred piece of equipment by amateurs and professional photographers alike.

Mola Beauty Dish

Why is it called a beauty dish? Largely it is called a beauty dish due to its shape and its resemblance to a bowl or dish. That shape attributes largely to the structural characteristics of the light cast. Light from the strobe strikes a central flat and often reflective disc that sits in the center of the dish and bounces omnidirectionally back into the bowl and out again into the dish's outer edges in a conal pattern.

The light cast is considerably more directional and specular than a softbox. While softboxes (as their name denotes) is far softer and generally wrapping but with significantly reduced gradient lumen transition from highlight to shadow. The falloff, as observed in light from a beauty dish, possesses a far shorter specular transition along its edges. While the transition from highlight to shadow is markedly short and evident, it is very mellow along the fringes of lumen dissipation giving the light a spherical characteristic. 

The specular quality of the light is observable in the reflective highlights falling upon the subject. The illumination nears zero as it approaches the outer edges of the cast conal light pattern. So why a beauty dish? Many photographers prefer the directional control and spherical light quality as it falls across a subject. This creates an observable transition within the context of a small frame. While softboxes create a greater spill, beauty dish lumen transition can be seen in a relative small area.This offers a significant degree of creative control for fashion photography and beauty. However, due to the light's swift falloff it is generally preferred with subjects where stronger contrast are more flattering as opposed to broader light sources that create less emphasis on irregular surfaces such as less than perfect skin.

The spherical nature of the light is clearly seen in this capture. Most photographers as do I, try to identify a sweet spot where the transition is perfectly placed. It varies depending on the conditions as well as the subject since the strength of reflection is governed by available light, exposure, DOF, and distance from the light source. Most might say that area is slightly outside of the physical center of the light source; catching the inner rim of falloff. This adds a layer of dimensionality to the shadow cast against the subject, creating more depth. 

Catchlights in the subject's eyes is also an attractive feature of the beauty dish's light. Most find that spherical conal pattern highly appealing. This spherical shape adds more life in the eyes, more specifically, depth created by the transition.

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That pattern can be seen in this image. As aforementioned, the subject lies just slightly off center of the reflective middle. For me this was the "sweet spot" for this particular capture. The falloff is clearly observable on the model's shoulder and this multifaceted characteristic is seen again on her nose bridge while the sphere is evident over the entire frame.


Again, this type of light is often used with subject's with above average skin and complexions. Be mindful that it will emphasize even the slightest irregular surface as seen on the wall the model leans against.

Like many other modifiers the beauty dish has accessories of its own including a sock and/or grids. Grids usually set into the outer rim of the dish and can be purchased in varying degrees often from 15 to 40 to control direction. Socks are made of a diffused fabric material that filters the light and softens it further, creating characteristics more like a softbox but with slightly more direction.

The beauty dish is certainly my preferred modifier and it is available in several different sizes. My personal favorite is the Mola beauty dish as seen above.

Does Better Equipment Make You a Better Photographer? Yes and No

This topic has been done to death. However, I have a slightly different take on things. I say yes and no. While many professionals might say that having better equipment will not make you a better photographer, those same professionals have the most advanced gear money can buy in their bags. So like politicians are they talking out both sides of their mouths?

I laugh at the camera phone enthusiasts that produce some very nice photos with their phones to make this point. However, when the real shoot comes the photographer is breaking out their 39+ mpx Hassie and their mobile self-cooling, on-location battery system.

The truth is, they are right but they are also wrong. They are not explaining the why. A totally green photographer may not distinguish the difference in equipment quality at first. Yet, as they grow and become more proficient the greatest challenge he or she will face is determining whether or not they have hit a ceiling with the equipment they currently have. Now wait a minute… “Better equipment won’t make you a better photographer” right? In style, in understanding light and composition, in understanding the limitations of your gear, in leading a team, in directing, scheduling and managing it will certainly not. However, all things being equal, quality equipment meaning better cameras, lighting and accessories will produce consistent quality.

At some point you will begin struggling and wondering if you’re good enough because you’re struggling to produce the same shot you captured last week. You have the same lighting, camera, and environment. What might it be? It can’t be the equipment because you read somewhere that equipment doesn’t matter. This is where you may have erred. EQUIPMENT DOES MATTER. Why? Because your F6.5 might be F8 and then F4 immediately after. It may not be you. It may be the inconsistencies in the lower quality camera or the flash units.

A better camera means among other things broader dynamic range, consistency, less noise using high ISO settings, more information in your captures for resizing and editing and producing images of crispness and sharpness as compared to lower models. Better lighting equipment means scalability, accessory access, and consistent output flash after flash after flash. It also means accessibility to modifiers and even technical support. Now asking a camera to take an image requiring ISO 6400 with a shutter speed of 1/200 in low light with no noise might be a stretch. Knowing why it didn’t produce the image you wanted is the key. But struggling to make it work with a piece of equipment that gives inconsistent results might not be telling you the whole story.

When are you good enough to discern when it’s you or the equipment is the greatest challenge. It has little to do with the equipment. But it also has EVERYTHING TO DO WITH THE EQUIPMENT. So the next time you see a tutorial or an article of a photographer raving about the high-end pics coming out of their iPhone, ask them what is in their other bag. Of course this photographer understands lighting and he or she wouldn’t set themselves up to produce a shot in an environment the iPhone wasn’t capable of capturing.

I know I’ve made the point on both sides but it is important to understand the seemingly blatant hypocrisy of some photographers. Now to play devil’s advocate, what do you expect a photographer that makes a living shooting to say, that it’s the equipment? Get equipment just like mine and you will be as good as I am? Not likely. A better answer might be get quality equipment to set yourself up for success if you can afford it, learn about lighting, style, photography and composition and you’re more likely to be as good or better than I am but different.

The truth is, the real talent does lie with the photographer. It’s not a lie, it’s simply not the entire truth.