How we photographers can help cosplayers (Part 1)
While this blog is geared more towards advice for cosplayers, I felt an article with advice for fellow photographers could help both sides, especially those new to the scene now that cosplay is blowing up.
1) Give cosplayers confidence
Cosplay: Maddaline, Photo: WJS Cosplay Photography
By far the most important thing we can do is give a cosplayer confidence on a shoot. Really, this applies to any shoot, cosplay or otherwise. Putting yourself out there and giving your trust to someone hiding their face behind a camera can be a difficult thing to do if you’re not used to it. While Maddaline above definitely wasn’t shy or unconfident, I still made sure to project confidence in what I was doing to make sure she knew she was in good hands. That in turn gives your model confidence so that they can perform and you know, just have fun, instead of worrying about what they could end up looking like.
One way I try to put my models at ease and earn their trust starts before the shoot ever happens. I display my portfolio. It sounds strange to say, but you really need a portfolio. Don’t even worry about whether it’s “good enough,” half of what a person needs to see is just the fact that other cosplayers have trusted you in the past to do a shoot.
Another thing I do for my bookings is showing that I really do care about their cosplay by doing research on it. I ask for the character name and details, I google it up, and then I draw out concept sketches for poses that fit that cosplay. This might sound a little overboard, but hey, I come from the cinematography world, where story boarding is standard and trust me, it helps you out a lot.
When it comes to the shoot itself, communication, communication. communication. You have to be able to direct and let the cosplayer know what you want and sound confident as you send out directions.The primary way is to just get experience and find your “voice” and flow and develop a certain style of directing. And to help all this to develop, I highly encourage photographers to…
2) Get in front of the camera
Yep, that’s me. I’m also an actor/director. And yeah, it’s kind of embarassing putting up one of my headshots up there so big. But that’s the point. I’ve been through the nerve-racking auditions more times that I can remember. I’ve put myself out there in front of the camera and I’ve taken direction. So I know how uncomfortable and frustrating it can feel sometimes. One of the biggest tips given to budding directors is to go on auditions, because you can’t really direct an actor until you know what it feels like from their position. And while I’m not saying you have to become an actor, try being in front of the camera. Do it and you’ll gain some valuable empathy that can really up your directing game.
Cosplays: Shini & Luster, Photo: WJS Cosplay
I know I’m coming back to this, but it’s sort of half the game and by far the biggest concern I hear from cosplayers from their shoots. Lack of direction. For this shot, one of the cosplayers literally couldn’t see a thing (try to guess which) and was going by physical touch and audio commands. Letting her know the general concept and giving her direction that made sense from her perspective both got her comfortable and smoothly maneuvered them both into the position I was imagining. I was (politely) barking out something like, ”Ok, sort of like Charlie’s Angels! You’re going back to back. Great! Bring your chin up and a teensy bit towards my voice. Now hold her hand. You two look awesome!” Because they did.
Another tip in regards to communication: try not to chimp too much. For non-photographers, “chimping” is when you stare down at your LCD screen, admiring a shot you took and going, “Ooh, ooh! Look! Ooh!” When you chimp you break connection with your model and they can suddenly feel alone as you focus on your camera. You’ll HAVE to check your LCD constantly, of course, but I try to keep the camera around eye level when I do so so I still face my model. I also often say something verbally while I check my shot, just to maintain a sense of engagement. This also helps the model stay in the moment, because when they’re left alone it’s difficult to “stay on,” and constantly having to turn themselves on and off can be a little draining for some people.
One other tip is to really look out for the model. I’ll usually show a few shots from the LCD to the cosplayer, both to earn their trust that the shots are coming out right, but also so I can ask if everything is in place. We photographers don’t always know the correct details for the cosplay, so really make sure the expert at hand can confirm. On that note…
4) Send your photos for approval
Cosplayer: Shikarius Cosplays, Photo: WJS Cosplay Photography, Assistant: Unknown
One thing I try to always do is send the edited photos to my cosplayers for approval before I post them publicly. Cosplay photography is a little different than other types of photography because you’re displaying another person’s artwork inside your own. So while the composition might be awesome to you, some detail like an out of place shoulder piece that you can’t photoshop back in place will reflect badly on the cosplayer, regardless of whether you think it’s something minor that no one will notice. I’ve edited many, many photos where I may have spent up to 30 or 45 minutes on them only to have them rejected because the model didn’t like their expression. And you know what? That’s fine, because hey, imagine if the situation was reversed. Empathy, remember?
Also, don’t post shots of cosplayers who are still prepping their costume. Like the one above. Who I asked for permission. And she said yes because it might actually be her new favorite photo. So really, don’t post photos of cosplayers who are still prepping their costume without permission.
No, not your $2000 camera body with the $1200 Canon L-Lens and $500 flashgun sitting on top. I mean the 12-cent clothespin (to pin back loose costuming), a 10-cent pack of wet wipes (to wipe up the dirty railing you’re asking the model to sit on), a 99-cent pocket mirror (because makeup) and a $5 roll of gaffers tape (for. everything. else. Everything). Those right there are pretty much what gets used the most outside of my camera and it shows your model that you care more about them than you do your toys. At least that’s the impression it gives. Whether you do in fact care more about your camera than another human being is your business, not mine.
And yes, in Hollywood, a clothespin is referred to as a C-47. Because movie making is oh so technical and “clothespin” looks terrible on your budget sheet.
6) Have a card, Take a card
One of the common posts we’ve no doubt have seen all over facebook after a convention ends are cosplayers complaining that they had their hallshot pics taken by a ton of randos only to not be able to find a single one. Solution is simple: have a cosplay card. Really, this goes for both sides. When I take a hallshot, I make sure to give them my card with my facebook account on it and I always try to take theirs so I can send them the image later on if need be. And really, it’s just fun having a stack of coscards to look through once in awhile because they’re a lot more fun than regular business cards. I talk more about cosplay cards (and where to get good ones cheap) in this post.
Hope this helped. Subscribe to my facebook and reblog this post if you found it helpful. And check back for part 2, upcoming posts on posing advice, photoshoot ideas and other cosplay picture things.
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