Salon Today - September 2008 - (Page 31)

>MAKE-UP AND CLOTHING A hair shoot keeps the focus above the neck, which heightens the emphasis on make-up. Flip through the beauty articles in Vogue—the hair is in focus and prominent in the frame, Barston says. Carson suggests looking for a make-up artist who has experience with photo make-up and is versatile enough to achieve a variety of looks. If you’re planning for avant garde, you should make sure your make-up artist has done that before. Then, as with the photographer, it’s critical to show visuals of what you’re looking for and explain the theme thoroughly. “I can go in afterward and retouch the images,” says Carson. “But it’s very time-consuming to lighten the make-up or add contour. It will cost less to hire a good make-up artist to get it right the ﬁrst time.” If you have conﬁdence in a make-up artist on staff at your salon, that can present a welcome opportunity for you to involve that member of your salon team. For your fashion stylist, you can use someone from the salon. But be careful, advise the experts—particularly with allowing clothes that are too distracting or provocative. And, of course, cut and color should be done a day or two ahead. Another reason to meet with models in advance is to have them sign releases. “The release protected us when a young model sued us because she was getting published too much,” says Shortino, remembering a model who complained that she should get royalties on the extensive exposure. “We gave her a nice look and the magazines liked it!” LEGAL LIMITATIONS Although you probably don’t need a lawyer to draw up a complicated legal package for you, read everything you sign and be aware of the typical legal pit falls: • Require every mode l to sign a standard model relea se permitting you to us e her image for both editorial and advertising and for print, video an d online publication. • On your calendar, ma rk the last date you’re allowed to use the photos. Normally, the modeling agency and/or the ph otographer permit about a year’s use. If possible, include in wr iting that once you offer the im ages to a magazine, you have no control over how long it will take for them to be published . • If the players are co ntributing their various talents for no payment, what you’r e doing is a test. You may includ e the images in your portf olio in order to pursue freelance wo rk, but not for any type of ad vertising or marketing. They ca nnot appear on your menu , on a poster in the salon or in a book left out for clients. • Shooting on spec is a little different. Although mo st or all of the contributors come to the table without paymen t and you are prohibited from us ing the images for advertising , when you shoot on spec yo u are permitted to send the photos to publications for edito rial consideration with the credits naming everyone inv olved. >TIME AND MONEY A shoot with three to six models will take all day, often a long day, and Anlauf says it’s not unusual for her to book two days. Price counts on three hours per model, which breaks down to 90 minutes for hair styling, 30 minutes for make-up and one hour to shoot. With several stylists, of course, the model prep can be done simultaneously. Plan as well as you can, and then it just takes as long as it takes. By now, Shortino has it down to a science; he has six to 10 stylists doing a total of 12 models and still ﬁnishes in one day. While Anlauf says the price of a shoot can run $10,000 or more, Shortino tags the cost at $3,000 to $5,000, which includes providing breakfast and lunch for everyone on set. “It’s good etiquette to take care of the people you have there for the day,” he says. For your very ﬁrst shoot, hold your expenses to a minimum, Price says. “Use three models that you pay $300 each, and many photographers in most cities would be thrilled to make $1,000 for the day. Have someone on staff do the make-up, or hire someone locally for $300 to $500.” The other choice is to make your ﬁrst shoot a test. “Get your feet wet,” says Ruiz. “Build a relationship with a few photographers, make-up artists and models. If their skill level is as high as yours, it will be a phenomenal experience for all of you. You’ll learn together.” n >THE PREP Once you have assembled your shooting team and have settled on a theme, schedule some preproduction meetings with everyone involved except the models. It’s up to you how much input you want from your stylists and how much you want to drive the vision yourself. On shoot day, your goal is to avoid surprises. “If you have a storyboard you’re more likely to have things run smoothly the day of the shoot,” says Price, who even has his team practice the styles on mannequins. Getting the model in your chair prior to the shoot will also boost your chances of success. “Sometimes hair stylists will try to do a complicated look that they’re not really prepared for,” says Barston. “But when the stylist has knowledge of the model’s hair, she can do pieces or extensions ahead of time if need be.” www.salontoday.com September 2008 | 31 http://www.salontoday.com

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Salon Today - September 2008 Contents Editor's Note Reception Fashion Sense Spa Menu Roundtable Decor Medusa Salon Camera Ready Maximum Exposure Hollywood Connection Products Owner to Owner

Salon Today - September 2008

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