December 18, 2023 • 42 mins
Episode 33- Learn how to find, set up shoots, and work with models in this episode that features an interview that Jason does with Sophia Baser, a New Orleans based model that he has worked with for many years.
Jason and Sophia discuss some of the pitfalls to avoid as well as some great tips to add to your arsenal when you are looking to start working more with models for your photography work.
They share stories on experiences they've encountered while working with each other and other creatives in the industry. Lots of great information in here for those who might struggle with this or don't even know where to get started.
You can follow Sophia on Insagram @baser.sophia and follow Jason @jasonlanierphotography
To see all of the Jason Lanier Unfiltered episodes please visit www.jasonlanier.com/podcast
Don't forget to share, download and subscribe to the podcast!
Jason and Sophia discuss some of the pitfalls to avoid as well as some great tips to add to your arsenal when you are looking to start working more with models for your photography work.
They share stories on experiences they've encountered while working with each other and other creatives in the industry. Lots of great information in here for those who might struggle with this or don't even know where to get started.
You can follow Sophia on Insagram @baser.sophia and follow Jason @jasonlanierphotography
To see all of the Jason Lanier Unfiltered episodes please visit www.jasonlanier.com/podcast
Don't forget to share, download and subscribe to the podcast!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Here we go. Hi, guys, I am sitting here with
the beautiful Miss Sophia Baser and please you have to
that beat being is gonna happen. Where are we, Sofia.
Speaker 2 (00:14):
We're at a boxing gym in New Orleans.
Speaker 1 (00:16):
This is a New Orleans boxing club. This is this
is your place, right and this is where I work out.
I mean, I know you don't own it. Correct. You
probably will someday, but as of right now, you do
not correct. But what do you do here?
Speaker 2 (00:32):
I just became a personal trainer, so I do classes
in training, and obviously I work out myself here. So
it's really fun.
Speaker 1 (00:39):
I have known Sophia for almost two.
Speaker 2 (00:42):
Years, right, yeah, maybe more Yeah.
Speaker 1 (00:47):
And yeah, I think you're right, and we have done
so many things together. We just wrapped up another shoot here.
She's based here in New Orleans, and so welcome to
the podcast. Everybody. It is Jason Leonard Nfiltered. This episode
is going to be I'm going to interview Miss Sophia,
not only because we've done so much fun stuff together,
but because I'm hoping that the podcast is helpful for
(01:10):
those folks out there. I have a lot of photographers,
especially male photographers, to be real who ask a lot
of questions about how do I find models, how do
I communicate with models, how do I, you know, work
with models? And I also so I thought it would
be relevant and helpful to get some information from her
on that, from her perspective. And then I also thought
(01:31):
it would be great if she could give us some
information on other models, aspiring models who are looking to
do this, you know, they what steps they can take,
and maybe some of the pitfalls to avoid and and
some of the good things that they can do. So
just in brief, Sophia and I, yes, we've known each other.
It's probably closer to three years. You're right, but it's crazy,
(01:54):
but we've done so much together. We've done fire.
Speaker 2 (01:56):
Shoots, yep, we've smoke.
Speaker 1 (01:59):
We've got and into a lot of gone into some
trespassing for sure, Texas. We've waded through some really nasty water.
Speaker 2 (02:08):
Yeah that was mostly you.
Speaker 1 (02:10):
Yeah, that was mostly me. Sofia went on tour with
me for a couple of months, uh a year and
a half ago maybe, yeah, something like that, right, yeah, yeah,
And we went we went all over the United States
doing a road light tour, which was fantastic, and we
had a lot of fun doing that. But so in
other words, we have a lot of history together and
(02:31):
I just wanted to share that because I thought it
would be fantastic to get her feedback and her perspective
on these things. And obviously she's she's a ton of fun.
And just so people can, you know, get the visual
of who you are if they don't know, which many
of my fans should, but give them your your your
Instagram so they can actually look you up while we're
listening to the podcast, so they can put a face
(02:52):
to the voice.
Speaker 2 (02:53):
My Instagram is at baser b a scr dot sofia
with a pH perfect.
Speaker 1 (03:00):
She's absolutely stunning, you guys, give her a follow. She's amazing.
So how did you get started in modeling?
Speaker 2 (03:07):
Honestly, since I was really little, like people would tell
me like, oh, you should model, and you're so cute,
and my mom really hated it, which made me really
want to do it even more. So finally, like end
of high school, I was allowed to like sign with
the agency in Kentucky and I kind of started that way.
Speaker 1 (03:25):
So okay, and what so you started when you were
after you graduated so eight.
Speaker 2 (03:33):
Yeah, seventeen ish, right before the year before I graduated,
I guess.
Speaker 1 (03:37):
And what how have you grown as a model in
that time? What do you think that you've become better at?
Speaker 2 (03:42):
Honestly, like, experience I think is just key with modeling.
So you know, every photographer is different, every scene is different,
and that's how it should be, and that's what makes
interesting shots. So the more you get out there and
shoot and you know yourself and you know what looks
good for you and you practice, I think that's just
what comes with experience.
Speaker 1 (04:03):
Absolutely. So she's, as we said at the beginning of
the podcast, she's based here in New Orleans. She's a
really beautiful, smart lady. She graduated from Tulane and so
modeling is something that she also does, and she just
does an incredible job of it. The first time that
you and I worked together, you were rolling around on
(04:25):
Bourbon Street with snakes. I was yes, That's when I
knew this she was a keeper because I had barely
met her and she's going crazy and there's a bunch
of people everywhere, and there's Big BoA's, and of course
she was all about it. What was that experience like
for you? How how would you what recommendations would you
give to a model because let me let me frame
(04:46):
it this way. One thing that I really was attracted
to with the way that you do modeling was your
fearlessness and how you go for and and that's something
I try to tell other people, like, if you're going
to create, I know it's but you have to break
those comfort zones. And that's one thing that when I
shoot with you, I never feel like you won't go
(05:06):
somewhere with me creatively, and that really opens up the
door to make better work. Where did you find that
or do you think that that's just kind of built
in your DNA? Well?
Speaker 2 (05:19):
I think you know, when I first started modeling, I
had a really great coach in my first agency, and
you come to realize that modeling and photography is an
art and you're creating something together and doing something really cool.
It's not just about trying to be pretty in front
of a camera, which is definitely part of it and
this fun, but it's trying to make something interesting and
(05:40):
that draws people's eyes and that's not necessarily always the
easiest thing to do, and it's you know, cool to
get to do something different and go to different places.
So obviously I think models need to know their boundaries
and know what they're comfortable in and kind of try
to get an idea of what the shoot is going
to be upfront so that they can tell a photographer, Hey,
I'm not comfortable doing.
Speaker 1 (06:00):
A B and C.
Speaker 2 (06:01):
Sure, but once you get into it, it's just so
cool getting to do like play with snakes on Bourbon
Street and getting to have those images and those memories.
Speaker 1 (06:11):
So you brought up something I think that's really fantastic
because something I always tell photographers, and you've been with
me to a ton of my workshops, I always tell
photographers you've probably heard me say this, but set expectations
with a model. And I think what you said is
so fantastic because when you talk about setting those boundaries,
(06:32):
that's what helps photographers. Because when I have, again, especially
male photographers, reach out there like it feels weird to
be messaging girls on Instagram or texting them or doing
these things. And again, sorry about the beep, that's just
something here in the boxing club. But when you have
a photographer reach out to you, what are some of
the red flags that they should avoid and what are
(06:53):
some of the things that they should do to help
be more conducive to you wanting to work with them.
Speaker 2 (07:00):
I think obviously having a page that seems professional your
instagram is important. I have personally like reached out to
other models that I will see on people's instagrams if
I'm not sure and see like, hey, have you worked
with this guy? Like were you comfortable? Like did anything happen?
I think also if you're meeting somebody for the first time,
(07:22):
you should typically ask to meet in a public place, absolutely,
and that kind of stuff to make somebody feel more comfortable.
And also if you want to see if they want
to bring a friend or something, especially the first time meeting,
so that they feel the most comfortable coming to this shoe.
Speaker 1 (07:35):
So so a model should bring a friend.
Speaker 2 (07:37):
I don't think they don't necessarily have to, but I
think it's nice to offer, and if they feel more
comfortable with somebody else there, just for the first time
meeting somebody. Sure, it is scary, like a lot of times,
I you know, I don't know what kind of situation
I'm going to get myself into when I go to
these shoots, and almost always it's been great experiences. But
(07:59):
when you get a random address and in somebody's apartment.
You know, it's like red flags, yes, red flags. Soely
knowing where you're going is important and trying to have
that communication with the model.
Speaker 1 (08:11):
So now I think that's that's fantastic feedback. And what
I would tell photographers is because I've worked with thousands
of models. Maybe maybe thousands is too many, but I
mean at least hundreds of models over my career, and
I just think if you reach out and you say,
here's what I want to do, here's the time, here's
the place, here's the general theme, and and give them
(08:34):
a vision, and a lot of models will ask you
for inspiration boards kind of what your thought processes. And
even today, even though again Sophia and I have done
so much together, so many incredible, incredible things we've done together.
But even though we've done all that together, even today
in the boxing ring, she was showing me some shots
of things that were kind of inspiration for her so
she could get an eye this you you wrap your
(08:56):
head around, you know what it is that you're trying
to create, and how does that you I mean, when
you haven't worked with a photographer before, is that something
that you do with the inspiration boards or board is
even the wrong word just sending pictures or having an idea.
I mean, what helps you get motivated to want to
work with someone.
Speaker 2 (09:16):
I think, you know, you can definitely gauge somebody's you know,
what they like to create by their page, first of all.
So obviously I look at every photographer's page that I
work with, and I see what, you know, they like
to make, and everybody has a different style, and that's
something that's really interesting. And then I personally love looking
for inspiration as a model because when you're in a
(09:38):
shoot and you do a bunch of different shoots, you
kind of get your same poses and your same ideas.
And so when you just look for inspiration and find
a few shots that are different from anything you've ever done,
you get something different for you, for the photographer, for
your portfolio and all that.
Speaker 1 (09:55):
So that's that's a great point, and I think it
it kind of dubb into the next question, which would
be what So we've spoken a little bit about how
photographers can reach out, what they can do. Let me
ask you this for a model that that's starting off
because we've spoken about how photographers reach out to models,
(10:17):
how what information would you give to models out there
who are looking to get into this, because in this
day and age with social media and everything, and there's
a bunch of beautiful, you know, young women out there
and women who want to get into this, and men obviously,
But what would you recommend to them how to reach
out to people that they want to work with.
Speaker 2 (10:38):
I would say, well, first of all, modeling isn't always easy,
and that's something to know. You're not just standing there
in front of the camera all of the time. Obviously
some shoots are a little bit more straightforward than others,
but that's something to keep in mind. And then when
you're reaching out to photographers, first of all, I would
honestly see if you have any friends who have a
(11:01):
or just to get comfortable in front of the camera,
or play some music and like hang out in front
of a mirror and like pose a little bit. Like
it feels stupid, but you got to know, like you
got to just get comfortable with your body and what
it looks like in front of the camera and kind
of know what the other person is seeing. And then
from there, if you're just starting out, I would try
(11:21):
to find newer photographers who want to collab with you
and get a lot of experience in obviously you want
to be careful with who you choose. You don't want
to do something sketchy, but try to do that. And
then obviously, if you want to get some more high
quality photos, you might have to pay for a better
photographer who has a lot of experience. But I would
(11:42):
start with some collabs with some newer photographers and that
kind of stuff.
Speaker 1 (11:45):
Yeah, great, great input. And again from the photographer's perspective,
I would say, you know, I'm training my sons right now,
and that's pretty much verbatim what what I told them
is they're going to have to reach out to models
who have less experience because it's kind of like you're
growing together exactly, and a very experienced model unless you're
willing to pay her or him, just like a very
(12:07):
experienced photographer. Like if a brand new model wants me
to help train her and help her with all those things,
it's probably going to cost her money. Similar to you know,
if a newer photographer reach it reaches out to you
to be to be fair, Sophia, you're going to make
his or her job very easy. Yes, from a posing perspective,
because you just flow and you move which is fantastic
(12:29):
because you're amazing at what you do. But if you're
a newer photographer or a newer model, I think reaching
out to somebody who's kind of kind of equally yoked
and they they're in the same path, they're going to
want to collaborate with you. But if you're reaching out
to people who are like if they have a bunch
of followers, or if they're very experienced, yeah, if you
(12:49):
want to work with them and you know that that's
going to probably result and you have them to pay them. Yes, So,
what have been some of the best experiences or or
you don't have to share any names of an anybody,
but best or worst experiences or funny experience that you've
had at a model that maybe a newer model or
a photographer could listen to the story and and really
(13:13):
have an idea. It would just give them a little
bit of insight into your head.
Speaker 2 (13:18):
Well, I mean obviously, and especially with Jason, you know,
I've done all kinds of different shoes, like in abandoned
buildings and in smoke and sometimes you don't yeah fire,
that was the tripod legs were burning.
Speaker 1 (13:32):
Yep. You know.
Speaker 2 (13:35):
You have to as a model, and I guess as
a photographer, if you're looking to do that kind of stuff,
be prepared for everything. And that comes from you know,
bringing different outfits and absolutely you know, even makeup or
bring just bringing plastic bags in case your shoes get
wet or something like that. You know, if you don't know,
like if you're going out into nature and doing different
(13:57):
stuff like that, it can you can and do things
that you'd never expect, which is really cool. But it's
good to be prepared and it's good to know that
going in so that you're you're kind of thinking with
open mind.
Speaker 1 (14:11):
Yeah, great, great input. One of the things that the
vast majority of models that I've worked with. And Sophie
and I took off for a couple of days before
we went on a big trip together, and similar to
what she just said, she brought a suitcase and she
had a suitcase full of stuff. And then we were
driving along the freeway of I don't even remember where
(14:32):
exactly we were heading, but we were just heading towards
blighted areas because you know, that's what I do. And
we're driving on the freeway and we see this whole
field that has just been it was on fire, and
she and I saw it and we kind of looked
at each other like yeah, we got to do this,
and drove over there and parked and she just she
just kind of plops a suitcase out of the back
(14:54):
of the suv and we're like, Okay, what would look
good here? And I think that's one piece of feed.
The fact that I would say to models that I've
worked with in the field is similar to what you
just said, you have to be realistic. Like I will
go and start setting up gear and the model will
just be in the car changing, She'll change behind the car.
It's not always what people think where there's this huge
(15:15):
setup team and there's this huge tents and everything else.
I'll just turn to I turned to Sofia and I said,
are you cool to do this? She's like yeah. So
we went into the went into the fire fields and
shot and melted some stuff. But the SHOT's fantastic. Yeah. No,
they're really cool. And I think the other thing that
I would say is when you're I know, for me,
(15:36):
what really helps from my perspective is when a model says, hey,
I have these outfits. When models just like put an
outfit and they like laid across a chair or on
a bed. I have no idea how that outfit looks.
So I always tell the models, and Sofia has done
this countless times, but just send me a picture of you.
And I always tell the girls you don't have to
(15:57):
put your makeup on. You can cut your face off.
It's fine because a lot of times they're doing it
after they get home from work or out being doing
whatever they're doing, and they'll just send pictures of them
wearing the outfit so I can see what it looks like.
And the real benefit to that from me, from my perspective,
is when we're out in the field, I can thumb
through my phone and say, hey, let's do this one, right.
Do other photographers do that with you or is that no?
Speaker 2 (16:19):
Definitely some photographers do. I wouldn't say all of them do,
and some don't care if you're actually wearing the outfit.
But I do definitely see a plus to wearing the
outfit and kind of seeing how that looks. I know
it can outfits can look completely different on or off, but.
Speaker 1 (16:36):
And from that perspective, it actually saves a lot of
time and annoyance for the model because if I'm making
you change and put on different outfits when we're out
in the field, whether it's fire right, that's for sure,
quite a bit more, you know, especially if you're losing light. Yeah,
if you're losing light, and that's a lot crappier to
(16:57):
do than if you're sitting in your apartment at night
and you're just trying on you know, and doing selfies
in the mirror.
Speaker 2 (17:02):
So yes, And I will say, you know, something that
I've found to be interesting is that modeling, like before
a shoot, it does take a lot of prep. Like
I feel like people wouldn't necessarily think like putting on
ten different outfits and seeing what you like. And then
also you know, obviously you have to do your pair
and your makeup, and you have to have this whole
bag set like it's a lot of stuff. It's not
(17:23):
just showing up and kind of you know, standing there.
Speaker 1 (17:27):
Yeah, you know, I think that that's amazing feedback because
I have a lot of people who will come up
to me and say, oh my gosh, i'd love to
work with you, I'd love to model. I don't say
how much modeling have you done? And similar to you,
I'll go look at their page and yeah, and if
there's not a lot of stuff there, then I'm like, okay.
But over the years, I've seen it to where they've
(17:49):
underestimated how much work it is and they're exhausted. And
I tell photographers, I've told my sons, you know, we
look at models and they're beautiful, and it's it's not
nearly as easy as you think. It's tiring, and it
can it can be tedious.
Speaker 2 (18:07):
Yeah, and sometimes you know, even like I'm an athlete,
but you're holding a pose for like five minutes or
a while and you get sore, Like it's tiring holding
three snakes on your back. Yeah, heavy, you know. Yeah,
it's a lot climb in and heels into abandoned buildings
and stuff.
Speaker 1 (18:24):
You know. So, no, you're absolutely right, because you know,
you know, everything that we've done, I will always try
it first, Like when we went to the firefield. That's
a big thing for me. I went out to the
firefield and I walked out onto it, you know, with
my shoes. Make sure, okay, because I really do. I don't.
I don't want you to get hurt, and I don't
(18:44):
want to to get hurt. No, I appreciate that a lot,
but I'll walk out there and make sure it's good.
Or when we did the snakes, even when we were
doing the snakes, I was are you good?
Speaker 2 (18:52):
Right?
Speaker 1 (18:52):
Are you good?
Speaker 2 (18:53):
Because it's good to check in for sure.
Speaker 1 (18:55):
Yeah, because they're not machines and you can't treat people
like drones. And you know, just I imagine if I
was wearing all those snakes you like, damn, these things
are heavy. So no, it's it's just been such a
pleasure to work with you. Thank you, and it's been
lovely to watch you grow. But you've done such an
incredible job. Another question I remember us. I just remembered
(19:18):
it right now as I was saying that. Something I
tell the people who have been muses for me or
the models I've work with a lot is you have
to block things out. And I was reminded of that
looking at you and thinking about when we're in Times
Square and there's obviously a million people there and I'm
shooting and people are literally walking within six inches of us,
(19:41):
and you have to block them out and block block
all of that noise out, so to speak, to be
able to shoot. What how do you do that? How
do you? How do you how have you found success
in blocking those things out.
Speaker 2 (19:54):
I think you know, when you get in front of
a camera or even and you can think of it
as like acting to you're kind of a different person
in a sense. You're playing a part, You're trying to
look a certain way, you're trying to convey certain emotions,
and that takes blocking out everything else. And so if
you're really a talented model and that's what you want
(20:15):
to do, you have to learn that. And it's come
somewhat naturally to me, I think, because I want to
do a good job and I want the photos to
turn out great, and so that means blocking everything out,
not worrying about anything else, and just doing your job
in front of that camera.
Speaker 1 (20:32):
One hundred percent. I remember one of the muses I
worked with, or models I worked with. I was getting
it ready for a trip and I said, you know,
on this particular trip, we're going to be shooting in
the front about three or four hundred people, and we're
going to the shots are going to be tethered, so
they're going to be shown on the screen as we're shooting.
It's like, oh my gosh. And I said, and I'm
(20:53):
telling you right now, when we're in that moment, you
might get nervous, and if you do, that's okay. But
I'm just going to say, hey, just you and me,
and we're just out in the field shooting somewhere, and
you have to kind of go there in your head
to where, Okay, nothing else matters. We just got to
focus on our job and get this done. And and
it's really helped to It's really helped me. I remember
(21:13):
the first time I was invited to shoot in front
of all of the press for the UK, and that's
a funny story. I read all I brought me out
and I was going to shoot in front of all
the press for the for the UK and all the
sony stuff I've done. And I remember being in a
studio and I was setting up and they wanted I
was trying to set it up to the to how
(21:35):
I thought they wanted me to shoot, yeah, and I
was trying to cater to what I thought they wanted,
which is so not me. And that lasted for about
five minutes, and I find and I felt myself sweating,
which I don't get nervous, and I said to myself,
I literally in the moment, said what are you doing
who cares what they think. Just do you. If they
(21:57):
didn't want you, you wouldn't be here. So just do you.
So even in the studio with all these lights, I'm
setting lights on the ground, I'm putting boxes up and
then they started laughing and they're like, yeah, this is Jason,
He's crazy and it turned out really well. So I
think that's what I'd say, is, you know, just find
a way to be you and block out that noise.
Another question, how important is it for you to see
(22:18):
shots in the camera and the photographer shooting, and does
that vary based on who you're working with.
Speaker 2 (22:23):
I think, at least at this point in my career,
I do. I know my angles and I kind of
know what I'm going to look like in a shot.
So some photographers don't like to show photos, some do.
Some are kind of iffy either way. And I think
it does depend on the model as well. You know,
some models might get caught up in their head if
(22:44):
they're starting, they think they look fat, you know whatever.
Else it might not be a good idea to show
them the photos. But as a model, like the way
you look is part of your job and you can
change that, And it really does your posing and everything
is a big part of that. Like I know, I
see photos of myself, I'm like, wow, you're so skinny,
(23:04):
and then others where I'm like, wow, that was like
five minutes apart and you look not good at all.
Speaker 1 (23:10):
You know.
Speaker 2 (23:11):
It's like you just have to know that about yourself
and not get too a caught up in your head.
And again, if you're trying to do a good job,
you just improve. So I like seeing the photos a
lot of the times because I can tweak little things.
I can see what I like and what I don't like.
But also if you're just posing and moving and getting
a lot of different shots, you should still have great
(23:32):
photos whether or not you see the photos.
Speaker 1 (23:34):
Yeah, And I think from my perspective showing shots to
a model or even a client, I gauge it based
upon how the shoot's going. If I think that they
need it, sometimes they need a boost. Yeah, but you're right.
Sometimes you can show a shot to someone and they're like, oh,
(23:55):
I thought I looked a lot better than that, and
all of a sudden, the shoot, like their confidence is shot.
So you really have to be careful because it can
go both ways. And one thing I would tell photographers
is that the thing that's crushing for photographers And I
had to learn this is that I would go and
I would I would have a shot that I think
(24:17):
is amazing, and I would show it to a model
and she's like that's cute, Like you're just tell me
my shot is cute. I want to kill myself right now.
And it's because we see things differently. See I see
the pose, I see the lighting, I see the composition.
(24:37):
Models don't care about that now they do. I'm not
saying that they don't, but we all have our priorities
of what we look at first. What do you see?
What do you look for first? When you look at it?
Look at a picture behind, I.
Speaker 2 (24:47):
Think obviously, I mean I'm looking at myself right, you know,
I'm looking exact my body, I'm looking at my face.
If I see a single flaw in that photo, just
based on that, like it could be a great composition,
beautiful shot, but like, that's what I'm looking at first,
And if I see just any little thing that I
think is off, it's gonna be like, oh shoot, like
why did I do that? Like this would have been
(25:09):
such a great shot if I didn't look like this,
you know, Like, so that's the one thing, and I
do think you know, obviously, models and photographers are looking
at different things, and typically models like their face one
way or their body one way, and it's it's something
to think about as a model, is that you're still like,
even if your face isn't that exact angle that you
(25:31):
love personally, you're still probably look great.
Speaker 1 (25:34):
Right.
Speaker 2 (25:35):
You can't be too hyper critical.
Speaker 1 (25:37):
So I like that. Yeah, yeah, And I know what
you mean, because obviously when I'm doing events or stuff,
there's lots of people who take pictures of me. I'm
the model, but people take pictures of me and I'm
the same way. So I have to say, I totally understand,
because it could be like this incredible shot, right, but
if like my if like fat in the shot, I know,
I'm like nope, They're like, Jason, look at this shot.
(25:59):
I'm like, no, well that's nice. Yeah, that's my version
of cute. I'm like, oh, that's nice. And then they're
like they're crushed, like this is an amazing shot, and
I'm like, it is, but I.
Speaker 2 (26:10):
Don't like how I look in it exactly.
Speaker 1 (26:12):
And I think that's the perspective we have to remember
as photographers, and that that took me a while to
get okay with because I would be like, my feelings
would get hurt, like, oh my gosh, they don't like
my work. And I had to get past that and say,
this isn't your work, this is about this is about them,
because photography is such a it's such a personal thing
because you're literally taking a picture of that whole person everything.
(26:38):
They represent all of the turmoil that's going on in
your head. Maybe at the moment, you know, fighting with
the boyfriend, Bill's job, whatever it may be. There's a
lot going on in your head to where you have
to think a lot and you know and and and
look your best at the same time. So any other
advice you want to give to models out there or photographers,
(27:01):
what'sh your photographers not do?
Speaker 2 (27:04):
That's funny.
Speaker 1 (27:06):
Is this is this is great information for out there.
Speaker 2 (27:10):
I do think the most important thing when you're setting
up a shoot with a model is just being as
upfront if you haven't met them before, especially, it's being
upfront with what you're doing, what you expect, what your
images are like, you know, what clothing, you know. All
of that can really make a model feel more comfortable
coming into a shoe, and I think that's really important,
(27:31):
especially you know, usually models are girls and photographers are
typically guys. Like it's just you want to make them
feel safe, and that's how you're going to get the
best shots. I think for models, you know, you have
to obviously come into every shoot with the open mind,
and every photographer is different and likes different things, and
(27:51):
you know, some it's good to know, like looking at
their portfolios what kind of shots they do, but you're
still never gonna know, and some photographers are going to
say things like, oh, let's not do that side of
your face, or you know, like oh, like I don't
know about that fat role, or oh when you put
your chin down you have a double chin, and then
other other photographers are gonna want you to put your
(28:12):
chin down, and then you get confused. But you just
can't every single shoot. You kind of got to reset
just a little bit because it's gonna be different and
you can't be too worried about your rules or whatever.
The last photographer said, like.
Speaker 1 (28:25):
Well, and you know what I'm gonna say to this
because I'm big on this, and this is I tell
photographers all the time, stop saying stupid stuff like you're
talking to a human being. I don't care if they're
a model. I don't care who they are. You're talking
to somebody. So when you mentioned and I hate it
when photographers tell models this is the better side of
your face. Yeah, I hate that because you're messing that
person up. And they will if you're a well established photographer,
(28:49):
it will get in their head that their left side
or the right side, whatever it may be, is just
not as pretty or good looking as the other. And
all of a sudden, I was in I was shooting
in England and a girl kept through on hair in
front of her face and I kept I asked her.
I finally said, why are you doing this? Why you
keep throwing hair in from your face? And she said, well,
it's because photographer told me my nose was big. And
I was like, that's horrible, you know. Or if you say, hey,
(29:12):
don't do that, you know, I kind of see your
fat roles when you do that. And again, you're talking
to somebody, and everybody's different. But in some cases photographers
will say that to people who have to us common
people out here, no fat, They're like their bodies are
so sculpted and beautiful, and they're still nitpicking it. And
so my personal thing on how I pose, and I
(29:34):
think Sophia would say, I've never ever said a single
negative thing. It's just not the way I communicate. It's
all about if there's something not right about the picture,
she will never know it. I will just fix it
with the post. So if she says a certain way
that isn't as flattering to her as it could be,
I'll okay, cool, that's great, just go back a little
bit perfect, that's amazing, versus pushing that negativity into the shoot.
(29:58):
Because once you start injecting negativity, this is a whole
life thing, I believe. But once you start pushing negativity
into into a situation, scenario or a person, that's what
you're gonna get back. Right. And I've seen countless photographers
they don't know where to start. They would say, I
don't know where to start, want to start to shoot?
Just just start playing, just start having fun. So have
you ever had a photographer communicate with you in a
(30:20):
negative fashion that made it more difficult for you to work?
Speaker 2 (30:23):
I think you know, obviously I've had nothing like really horrible,
but I've definitely you know, definitely people have said like
you need to suck in a little bit, or you know,
like stuff like that.
Speaker 3 (30:34):
And if you guys have seen this one, I want
you to see the picture of Sophia if you've seen her,
For someone to say to her that she has to suck.
Speaker 1 (30:40):
In, to me is it's outrageous.
Speaker 2 (30:42):
But also like I think to be a model you
need to take that with a grain of salt. Okay,
you know, obviously I would prefer a photographer to say
it in a little bit of a different way or
you know, like say it slightly more like how you
were talking, more positive of just get her to move
a little bit. But I want to get the best
(31:04):
shot out of it. And I'm not gonna like it
if I know I have a fat role, you know,
or like not but a skin roll that's like, you know,
And so I do want to know. But I think
there's a there's a better way of saying that. And
I have had photographers be like, let's do this side
of your face, like or which one's your better side?
And I'm like, oh, shoot, do I have a better side?
And then I started thinking about it and again, like
(31:26):
it's just all of those little things and the next shoot,
it definitely does stay on the back of your mind.
You're like, I don't really want to turn my face
that way, even though the light's that way and that's
the best composition. Like you're like, I'll shoot yeah, yeah, yeah.
Speaker 1 (31:40):
And the other thing is if when photographers say that,
the other thing that you're doing is you're eliminating, like
Sophia just said, you're eliminating the creative options. Because if
she's sitting in the street and I'm thinking of the
snaxt gain, but if she's sitting in the street and
she wants and I need her to turn her head
to the right because of the way just what's going
(32:00):
on in the background, the way she's positioned, shooting her
with her head position more to the right is going
to look better if it's in her head that that's
not the good side of her face, which is it
isn't both all of you is beautiful, but she's not
gonna want to do it, or she's gonna be very
hesitant to do it. Yep. So, and I agree with you.
I understand what you're saying. You want to get the
best out. You want a photographer to correct something. So
(32:21):
you're like, well, why didn't you say something? I had
a skin roll and you didn't say anything. I don't
want to hurt your feelings. I get it, like models
need it tough enough to but I think there's just
that balance. And again, this is a life thing for
me on how you correct people. You don't correct people
by putting them down. You correct people. Yeah, you just
you just find a way to be constructive without being
really nasty. So that's just a life thing. But yes,
(32:45):
any other parts of wisdom that you'd like to leave
with the audience today, Well, was.
Speaker 2 (32:53):
Model having gone to Jason Lanier's lighting sessions.
Speaker 3 (33:00):
To hear what's going to come out of her mouth next.
This was totally not prepared even once she started with
her like her voiceover voice as a model, So let's
hear this.
Speaker 1 (33:10):
What are you gonna say?
Speaker 2 (33:11):
It's really not that big anyway. I'm just gonna say, like,
I think something that I did learn from you that
I hadn't really thought of a lot before is like
thinking about your face and where the light is and
that kind of stuff, and also knowing it helps to know,
like if they're taking far away shots, if they're taking
close up shots, if you're thinking about are your hands
(33:32):
in the composition? Are they not? Do you need to
worry about that? All of that kind of stuff can
really take you to the next level. I think as a.
Speaker 1 (33:39):
Model, Okay, that beautiful, beautiful feedback. I was, that's just
amazing feedback, because you're absolutely right. One thing that I
do when I start working with a model for the
first time was I will kind of explain my process
of how I pose and how I shoot, and I'll say, Okay,
now I'm shooting just your half body up, whole body,
you know, or headshot. I will explain that to them
(34:01):
so they can look their best. And taking that little
bit of time to familiarize yourself with your subject, especially
when you haven't worked together, is very important. How would
you say a photographer, I just thought another question because
they always say the first you know, five ten minutes
is so awkward, So how would you say that. I
know what I would say to this, but what would
(34:22):
you say? The best way is to overcome that awkwardness
when you're meeting someone for the first time and you
are trying to start a creative groove together.
Speaker 2 (34:30):
That's really interesting. I'm typically an awkward person myself. However,
that's very hard to believe. I feel like, you know,
when you're going into shoot, your common goal is to
make something cool and that you're both gonna love, and
so I think talking about your vision and your work
(34:51):
and what you love and doing all of that kind
of stuff could really, you know, break the ice and
talk about something that you are both interested in.
Speaker 1 (34:58):
So absolutely, and what I would say to that is
and I think Sophia would would say this when we met.
We met in downtown in the French Court the first
time we decided to shoot together. And people are gonna ask,
by the way, how did I find Sophia, because that's
another thing. I just went right onto New Orleans Model
hashtag New Orleans model on Instagram and I found her.
(35:21):
I'm like, oh my gosh, she is gorgeous. And I
sent her a message. And again it wasn't some weird message.
It's hey, you know, I'm coming down and I'd like
to work together, and and and we ended up shooting together.
But you know, she goes and checks out my work.
And I was tell photographers be posting. You got to
be posting the work, and whatever you're posting, they're going
to want to. They're going to look at that engage
(35:41):
whether or not you know you're worth the time to
work together. But that whole feeling comfortable, I always tell people,
just treat it like you're meeting someone for the first
time and you have to just just talk about stuff.
Just Hey, so you're a student here. When I met her,
she was still a student. You're a student here. That's amazing.
How do you like New Orleans? Which just make some
small talk and start to shoot and then before you
(36:03):
know it, you'll you'll find a creative groove and you'll
be on the same page. Yeah, I agree. What's the
worst thing I've done to you or made you do? Dude?
Speaker 2 (36:17):
There's so many, many of which would be like, I mean,
there was hosing down in the wedding dress, but that
was kind of fun.
Speaker 1 (36:29):
Oh my gosh. We wind into a waffle house to
eat and she's wearing a bridle gown. Now I love
this a great story because she's wearing a bridle gown.
We were doing some other shoot at an abandoned house
and we walked into a off house because she loves
some waffle house and she can eat. You wouldn't believe it,
but she can't. And we went in there and and
(36:51):
we were eating having a good time, and then I
just turned to the folks at the waffle house and
I said, hey, you know, can we do a shoot here? Yeah?
And so there was nobody else in there, and so
I kind of that kind of I paid, I bribed
them to let us have the place to ourself. And
that became a whole thing because the manager kept a
hundred I gave her and wasn't sharing it with the crew,
(37:12):
And then that turned into a thing where the crew
was coming to us after the shooting and saying, hey,
did you give her money and not us? And it
turned into the whole thing. But we did this amazing
shoot in the waffle house, and talk about that spontan
eighty just we just decided to shoot. She's pouring syrup
all over so sugar all over herself. And then after
the shoot, what happened when we do we went to the.
Speaker 2 (37:33):
Back of the waffle house and got out the hose.
It was a little cold. He hosed down all that
sugar and syrup off of this wedding dress and me
in the process.
Speaker 1 (37:44):
I think we hosed off at least five thousand calories.
Speaker 2 (37:47):
Oh yeah, well I probably also consumed some of those calories.
Speaker 1 (37:52):
Yeah. And I'll tell you what, if you go out
to eat with Sofia, which is I would recommend, it's
quite an experience. She will finish your plate, and she
will finish other people's plates, and then you will look
at her and say, how Now. I know you work
very hard and you work out a lot, so I'm
not taking anything away, but it is incredible. It is
(38:13):
incredible to see how beautiful she is and she can
consume so much, so much food.
Speaker 2 (38:19):
Thank you appreciate that.
Speaker 1 (38:20):
So so there was the washing down. Any other thing
that comes to mind?
Speaker 4 (38:25):
Snakes, fire, No, well, I will say swimsuit in junk wait,
non jungle, but like what.
Speaker 2 (38:36):
Forest Seattle or close to Seattle? That was bugs swarming,
lots of bugs. I don't like bugs.
Speaker 1 (38:46):
I can tell I killed long legs for her today.
Speaker 2 (38:48):
Yes, you did. I do appreciate that. But yeah, I
mean that's also another thing you got to think about.
You know, when you're going into nature and shooting in
a swimsuit, you might get bit up. There's all that
kind of stuff.
Speaker 1 (39:02):
But yeah, and that's a that's another thing is try
to if you can. And I'm not going to pretend
I'm the best at this because I'm not. But try
to have like a little model survival kit. Yeah, like
bug spray, suntan or some block first aid kit.
Speaker 2 (39:18):
Yeah, the bugspray was just not one that I ever
thought of before that one. But you know, you live
and you learn.
Speaker 1 (39:24):
Because we were putting moss on. Yeah, that was That
was a fun one. Well, Sophia, I can't thank you enough.
You're amazing.
Speaker 2 (39:33):
Thank you.
Speaker 1 (39:33):
You know, I love you and I think I think
the world of use. So she took me to her
family's big rich restaurant in Louisville. I got to meet
her mom, got to meet her mom. Oh, and you
do have to be patient because models, we'll call you
and say, hey, I missed my flight.
Speaker 2 (39:53):
That was not my fault and I still made it,
so did help.
Speaker 1 (39:59):
Yeah. So, well I was down in Atlanta, yeah, and
you were up in Louisville. And we met somewhere in
the middle. Her mom drove her down, which is really
sweet of her. Yes, and I drove up. We met
in the halfway point. H and uh because we had
an event I think that day that night. Yeah. So
(40:19):
but yeah, I think it's just anything in life. If
you just try to kind of relax a little bit
and realize that we're all just going through this together.
And yeah, if you're patient and kind and loving to
other people, it ends up being a lot better for
everybody involved.
Speaker 2 (40:33):
Ye for sure.
Speaker 1 (40:35):
Well, thank you for sharing your time with me.
Speaker 2 (40:38):
Of course.
Speaker 1 (40:39):
Yeah, I think I think you're amazing. So tell them
one more time where to find you?
Speaker 2 (40:43):
All right?
Speaker 1 (40:44):
Yeah?
Speaker 2 (40:44):
My my instagram?
Speaker 1 (40:46):
Oh did did we get a meet out? She met? Guys?
Speaker 2 (40:50):
I I was thinking either Instagram or ig But anyway,
my Instagram, what did you just Instagram versus IG?
Speaker 1 (40:57):
Oh? You were just thinking which one you were going
to say?
Speaker 2 (40:59):
Sometimes when I'm thinking of two words at the same time,
I'll just kind of like combine them into one word
on accident. Okay, yeah, no so but anyway, it happens
to the best of us, it does. My Instagram is
baser ba s R dot Sofia with a pH so
the pH correct.
Speaker 1 (41:19):
All right, guys, thanks for listening. Until next time, I'll
put you on the spot again. Oh, keep shooting, never
give up on your dreams. Make sure to share the podcast,
make sure to put it out there with other people
so they can listen to It's one of the top
podcasts and photographies, which really cool. Thanks for listening, guys,
and I look forward to seeing what comes next. Until
next time, keep shooting, never give up on your dream spot,
(41:43):
find the right gear that works for you, and remember
what Miss Sofia.
Speaker 2 (41:48):
Don't give up, never give up.
Speaker 1 (41:52):
You only have what one chance to get it right.
There you go, All right, guys, we'll talk to you later.
Speaker 2 (41:59):
Bye bye, Hey are you an amazing things? Go? Lee
blow strings gold
Speaker 1 (42:07):
Leaves a legal rings
Here we go. Hi, guys, I am sitting here with
the beautiful Miss Sophia Baser and please you have to
that beat being is gonna happen. Where are we, Sofia.
Speaker 2 (00:14):
We're at a boxing gym in New Orleans.
Speaker 1 (00:16):
This is a New Orleans boxing club. This is this
is your place, right and this is where I work out.
I mean, I know you don't own it. Correct. You
probably will someday, but as of right now, you do
not correct. But what do you do here?
Speaker 2 (00:32):
I just became a personal trainer, so I do classes
in training, and obviously I work out myself here. So
it's really fun.
Speaker 1 (00:39):
I have known Sophia for almost two.
Speaker 2 (00:42):
Years, right, yeah, maybe more Yeah.
Speaker 1 (00:47):
And yeah, I think you're right, and we have done
so many things together. We just wrapped up another shoot here.
She's based here in New Orleans, and so welcome to
the podcast. Everybody. It is Jason Leonard Nfiltered. This episode
is going to be I'm going to interview Miss Sophia,
not only because we've done so much fun stuff together,
but because I'm hoping that the podcast is helpful for
(01:10):
those folks out there. I have a lot of photographers,
especially male photographers, to be real who ask a lot
of questions about how do I find models, how do
I communicate with models, how do I, you know, work
with models? And I also so I thought it would
be relevant and helpful to get some information from her
on that, from her perspective. And then I also thought
(01:31):
it would be great if she could give us some
information on other models, aspiring models who are looking to
do this, you know, they what steps they can take,
and maybe some of the pitfalls to avoid and and
some of the good things that they can do. So
just in brief, Sophia and I, yes, we've known each other.
It's probably closer to three years. You're right, but it's crazy,
(01:54):
but we've done so much together. We've done fire.
Speaker 2 (01:56):
Shoots, yep, we've smoke.
Speaker 1 (01:59):
We've got and into a lot of gone into some
trespassing for sure, Texas. We've waded through some really nasty water.
Speaker 2 (02:08):
Yeah that was mostly you.
Speaker 1 (02:10):
Yeah, that was mostly me. Sofia went on tour with
me for a couple of months, uh a year and
a half ago maybe, yeah, something like that, right, yeah, yeah,
And we went we went all over the United States
doing a road light tour, which was fantastic, and we
had a lot of fun doing that. But so in
other words, we have a lot of history together and
(02:31):
I just wanted to share that because I thought it
would be fantastic to get her feedback and her perspective
on these things. And obviously she's she's a ton of fun.
And just so people can, you know, get the visual
of who you are if they don't know, which many
of my fans should, but give them your your your
Instagram so they can actually look you up while we're
listening to the podcast, so they can put a face
(02:52):
to the voice.
Speaker 2 (02:53):
My Instagram is at baser b a scr dot sofia
with a pH perfect.
Speaker 1 (03:00):
She's absolutely stunning, you guys, give her a follow. She's amazing.
So how did you get started in modeling?
Speaker 2 (03:07):
Honestly, since I was really little, like people would tell
me like, oh, you should model, and you're so cute,
and my mom really hated it, which made me really
want to do it even more. So finally, like end
of high school, I was allowed to like sign with
the agency in Kentucky and I kind of started that way.
Speaker 1 (03:25):
So okay, and what so you started when you were
after you graduated so eight.
Speaker 2 (03:33):
Yeah, seventeen ish, right before the year before I graduated,
I guess.
Speaker 1 (03:37):
And what how have you grown as a model in
that time? What do you think that you've become better at?
Speaker 2 (03:42):
Honestly, like, experience I think is just key with modeling.
So you know, every photographer is different, every scene is different,
and that's how it should be, and that's what makes
interesting shots. So the more you get out there and
shoot and you know yourself and you know what looks
good for you and you practice, I think that's just
what comes with experience.
Speaker 1 (04:03):
Absolutely. So she's, as we said at the beginning of
the podcast, she's based here in New Orleans. She's a
really beautiful, smart lady. She graduated from Tulane and so
modeling is something that she also does, and she just
does an incredible job of it. The first time that
you and I worked together, you were rolling around on
(04:25):
Bourbon Street with snakes. I was yes, That's when I
knew this she was a keeper because I had barely
met her and she's going crazy and there's a bunch
of people everywhere, and there's Big BoA's, and of course
she was all about it. What was that experience like
for you? How how would you what recommendations would you
give to a model because let me let me frame
(04:46):
it this way. One thing that I really was attracted
to with the way that you do modeling was your
fearlessness and how you go for and and that's something
I try to tell other people, like, if you're going
to create, I know it's but you have to break
those comfort zones. And that's one thing that when I
shoot with you, I never feel like you won't go
(05:06):
somewhere with me creatively, and that really opens up the
door to make better work. Where did you find that
or do you think that that's just kind of built
in your DNA? Well?
Speaker 2 (05:19):
I think you know, when I first started modeling, I
had a really great coach in my first agency, and
you come to realize that modeling and photography is an
art and you're creating something together and doing something really cool.
It's not just about trying to be pretty in front
of a camera, which is definitely part of it and
this fun, but it's trying to make something interesting and
(05:40):
that draws people's eyes and that's not necessarily always the
easiest thing to do, and it's you know, cool to
get to do something different and go to different places.
So obviously I think models need to know their boundaries
and know what they're comfortable in and kind of try
to get an idea of what the shoot is going
to be upfront so that they can tell a photographer, Hey,
I'm not comfortable doing.
Speaker 1 (06:00):
A B and C.
Speaker 2 (06:01):
Sure, but once you get into it, it's just so
cool getting to do like play with snakes on Bourbon
Street and getting to have those images and those memories.
Speaker 1 (06:11):
So you brought up something I think that's really fantastic
because something I always tell photographers, and you've been with
me to a ton of my workshops, I always tell
photographers you've probably heard me say this, but set expectations
with a model. And I think what you said is
so fantastic because when you talk about setting those boundaries,
(06:32):
that's what helps photographers. Because when I have, again, especially
male photographers, reach out there like it feels weird to
be messaging girls on Instagram or texting them or doing
these things. And again, sorry about the beep, that's just
something here in the boxing club. But when you have
a photographer reach out to you, what are some of
the red flags that they should avoid and what are
(06:53):
some of the things that they should do to help
be more conducive to you wanting to work with them.
Speaker 2 (07:00):
I think obviously having a page that seems professional your
instagram is important. I have personally like reached out to
other models that I will see on people's instagrams if
I'm not sure and see like, hey, have you worked
with this guy? Like were you comfortable? Like did anything happen?
I think also if you're meeting somebody for the first time,
(07:22):
you should typically ask to meet in a public place, absolutely,
and that kind of stuff to make somebody feel more comfortable.
And also if you want to see if they want
to bring a friend or something, especially the first time meeting,
so that they feel the most comfortable coming to this shoe.
Speaker 1 (07:35):
So so a model should bring a friend.
Speaker 2 (07:37):
I don't think they don't necessarily have to, but I
think it's nice to offer, and if they feel more
comfortable with somebody else there, just for the first time
meeting somebody. Sure, it is scary, like a lot of times,
I you know, I don't know what kind of situation
I'm going to get myself into when I go to
these shoots, and almost always it's been great experiences. But
(07:59):
when you get a random address and in somebody's apartment.
You know, it's like red flags, yes, red flags. Soely
knowing where you're going is important and trying to have
that communication with the model.
Speaker 1 (08:11):
So now I think that's that's fantastic feedback. And what
I would tell photographers is because I've worked with thousands
of models. Maybe maybe thousands is too many, but I
mean at least hundreds of models over my career, and
I just think if you reach out and you say,
here's what I want to do, here's the time, here's
the place, here's the general theme, and and give them
(08:34):
a vision, and a lot of models will ask you
for inspiration boards kind of what your thought processes. And
even today, even though again Sophia and I have done
so much together, so many incredible, incredible things we've done together.
But even though we've done all that together, even today
in the boxing ring, she was showing me some shots
of things that were kind of inspiration for her so
she could get an eye this you you wrap your
(08:56):
head around, you know what it is that you're trying
to create, and how does that you I mean, when
you haven't worked with a photographer before, is that something
that you do with the inspiration boards or board is
even the wrong word just sending pictures or having an idea.
I mean, what helps you get motivated to want to
work with someone.
Speaker 2 (09:16):
I think, you know, you can definitely gauge somebody's you know,
what they like to create by their page, first of all.
So obviously I look at every photographer's page that I
work with, and I see what, you know, they like
to make, and everybody has a different style, and that's
something that's really interesting. And then I personally love looking
for inspiration as a model because when you're in a
(09:38):
shoot and you do a bunch of different shoots, you
kind of get your same poses and your same ideas.
And so when you just look for inspiration and find
a few shots that are different from anything you've ever done,
you get something different for you, for the photographer, for
your portfolio and all that.
Speaker 1 (09:55):
So that's that's a great point, and I think it
it kind of dubb into the next question, which would
be what So we've spoken a little bit about how
photographers can reach out, what they can do. Let me
ask you this for a model that that's starting off
because we've spoken about how photographers reach out to models,
(10:17):
how what information would you give to models out there
who are looking to get into this, because in this
day and age with social media and everything, and there's
a bunch of beautiful, you know, young women out there
and women who want to get into this, and men obviously,
But what would you recommend to them how to reach
out to people that they want to work with.
Speaker 2 (10:38):
I would say, well, first of all, modeling isn't always easy,
and that's something to know. You're not just standing there
in front of the camera all of the time. Obviously
some shoots are a little bit more straightforward than others,
but that's something to keep in mind. And then when
you're reaching out to photographers, first of all, I would
honestly see if you have any friends who have a
(11:01):
or just to get comfortable in front of the camera,
or play some music and like hang out in front
of a mirror and like pose a little bit. Like
it feels stupid, but you got to know, like you
got to just get comfortable with your body and what
it looks like in front of the camera and kind
of know what the other person is seeing. And then
from there, if you're just starting out, I would try
(11:21):
to find newer photographers who want to collab with you
and get a lot of experience in obviously you want
to be careful with who you choose. You don't want
to do something sketchy, but try to do that. And
then obviously, if you want to get some more high
quality photos, you might have to pay for a better
photographer who has a lot of experience. But I would
(11:42):
start with some collabs with some newer photographers and that
kind of stuff.
Speaker 1 (11:45):
Yeah, great, great input. And again from the photographer's perspective,
I would say, you know, I'm training my sons right now,
and that's pretty much verbatim what what I told them
is they're going to have to reach out to models
who have less experience because it's kind of like you're
growing together exactly, and a very experienced model unless you're
willing to pay her or him, just like a very
(12:07):
experienced photographer. Like if a brand new model wants me
to help train her and help her with all those things,
it's probably going to cost her money. Similar to you know,
if a newer photographer reach it reaches out to you
to be to be fair, Sophia, you're going to make
his or her job very easy. Yes, from a posing perspective,
because you just flow and you move which is fantastic
(12:29):
because you're amazing at what you do. But if you're
a newer photographer or a newer model, I think reaching
out to somebody who's kind of kind of equally yoked
and they they're in the same path, they're going to
want to collaborate with you. But if you're reaching out
to people who are like if they have a bunch
of followers, or if they're very experienced, yeah, if you
(12:49):
want to work with them and you know that that's
going to probably result and you have them to pay them. Yes, So,
what have been some of the best experiences or or
you don't have to share any names of an anybody,
but best or worst experiences or funny experience that you've
had at a model that maybe a newer model or
a photographer could listen to the story and and really
(13:13):
have an idea. It would just give them a little
bit of insight into your head.
Speaker 2 (13:18):
Well, I mean obviously, and especially with Jason, you know,
I've done all kinds of different shoes, like in abandoned
buildings and in smoke and sometimes you don't yeah fire,
that was the tripod legs were burning.
Speaker 1 (13:32):
Yep. You know.
Speaker 2 (13:35):
You have to as a model, and I guess as
a photographer, if you're looking to do that kind of stuff,
be prepared for everything. And that comes from you know,
bringing different outfits and absolutely you know, even makeup or
bring just bringing plastic bags in case your shoes get
wet or something like that. You know, if you don't know,
like if you're going out into nature and doing different
(13:57):
stuff like that, it can you can and do things
that you'd never expect, which is really cool. But it's
good to be prepared and it's good to know that
going in so that you're you're kind of thinking with
open mind.
Speaker 1 (14:11):
Yeah, great, great input. One of the things that the
vast majority of models that I've worked with. And Sophie
and I took off for a couple of days before
we went on a big trip together, and similar to
what she just said, she brought a suitcase and she
had a suitcase full of stuff. And then we were
driving along the freeway of I don't even remember where
(14:32):
exactly we were heading, but we were just heading towards
blighted areas because you know, that's what I do. And
we're driving on the freeway and we see this whole
field that has just been it was on fire, and
she and I saw it and we kind of looked
at each other like yeah, we got to do this,
and drove over there and parked and she just she
just kind of plops a suitcase out of the back
(14:54):
of the suv and we're like, Okay, what would look
good here? And I think that's one piece of feed.
The fact that I would say to models that I've
worked with in the field is similar to what you
just said, you have to be realistic. Like I will
go and start setting up gear and the model will
just be in the car changing, She'll change behind the car.
It's not always what people think where there's this huge
(15:15):
setup team and there's this huge tents and everything else.
I'll just turn to I turned to Sofia and I said,
are you cool to do this? She's like yeah. So
we went into the went into the fire fields and
shot and melted some stuff. But the SHOT's fantastic. Yeah. No,
they're really cool. And I think the other thing that
I would say is when you're I know, for me,
(15:36):
what really helps from my perspective is when a model says, hey,
I have these outfits. When models just like put an
outfit and they like laid across a chair or on
a bed. I have no idea how that outfit looks.
So I always tell the models, and Sofia has done
this countless times, but just send me a picture of you.
And I always tell the girls you don't have to
(15:57):
put your makeup on. You can cut your face off.
It's fine because a lot of times they're doing it
after they get home from work or out being doing
whatever they're doing, and they'll just send pictures of them
wearing the outfit so I can see what it looks like.
And the real benefit to that from me, from my perspective,
is when we're out in the field, I can thumb
through my phone and say, hey, let's do this one, right.
Do other photographers do that with you or is that no?
Speaker 2 (16:19):
Definitely some photographers do. I wouldn't say all of them do,
and some don't care if you're actually wearing the outfit.
But I do definitely see a plus to wearing the
outfit and kind of seeing how that looks. I know
it can outfits can look completely different on or off, but.
Speaker 1 (16:36):
And from that perspective, it actually saves a lot of
time and annoyance for the model because if I'm making
you change and put on different outfits when we're out
in the field, whether it's fire right, that's for sure,
quite a bit more, you know, especially if you're losing light. Yeah,
if you're losing light, and that's a lot crappier to
(16:57):
do than if you're sitting in your apartment at night
and you're just trying on you know, and doing selfies
in the mirror.
Speaker 2 (17:02):
So yes, And I will say, you know, something that
I've found to be interesting is that modeling, like before
a shoot, it does take a lot of prep. Like
I feel like people wouldn't necessarily think like putting on
ten different outfits and seeing what you like. And then
also you know, obviously you have to do your pair
and your makeup, and you have to have this whole
bag set like it's a lot of stuff. It's not
(17:23):
just showing up and kind of you know, standing there.
Speaker 1 (17:27):
Yeah, you know, I think that that's amazing feedback because
I have a lot of people who will come up
to me and say, oh my gosh, i'd love to
work with you, I'd love to model. I don't say
how much modeling have you done? And similar to you,
I'll go look at their page and yeah, and if
there's not a lot of stuff there, then I'm like, okay.
But over the years, I've seen it to where they've
(17:49):
underestimated how much work it is and they're exhausted. And
I tell photographers, I've told my sons, you know, we
look at models and they're beautiful, and it's it's not
nearly as easy as you think. It's tiring, and it
can it can be tedious.
Speaker 2 (18:07):
Yeah, and sometimes you know, even like I'm an athlete,
but you're holding a pose for like five minutes or
a while and you get sore, Like it's tiring holding
three snakes on your back. Yeah, heavy, you know. Yeah,
it's a lot climb in and heels into abandoned buildings
and stuff.
Speaker 1 (18:24):
You know. So, no, you're absolutely right, because you know,
you know, everything that we've done, I will always try
it first, Like when we went to the firefield. That's
a big thing for me. I went out to the
firefield and I walked out onto it, you know, with
my shoes. Make sure, okay, because I really do. I don't.
I don't want you to get hurt, and I don't
(18:44):
want to to get hurt. No, I appreciate that a lot,
but I'll walk out there and make sure it's good.
Or when we did the snakes, even when we were
doing the snakes, I was are you good?
Speaker 2 (18:52):
Right?
Speaker 1 (18:52):
Are you good?
Speaker 2 (18:53):
Because it's good to check in for sure.
Speaker 1 (18:55):
Yeah, because they're not machines and you can't treat people
like drones. And you know, just I imagine if I
was wearing all those snakes you like, damn, these things
are heavy. So no, it's it's just been such a
pleasure to work with you. Thank you, and it's been
lovely to watch you grow. But you've done such an
incredible job. Another question I remember us. I just remembered
(19:18):
it right now as I was saying that. Something I
tell the people who have been muses for me or
the models I've work with a lot is you have
to block things out. And I was reminded of that
looking at you and thinking about when we're in Times
Square and there's obviously a million people there and I'm
shooting and people are literally walking within six inches of us,
(19:41):
and you have to block them out and block block
all of that noise out, so to speak, to be
able to shoot. What how do you do that? How
do you? How do you how have you found success
in blocking those things out.
Speaker 2 (19:54):
I think you know, when you get in front of
a camera or even and you can think of it
as like acting to you're kind of a different person
in a sense. You're playing a part, You're trying to
look a certain way, you're trying to convey certain emotions,
and that takes blocking out everything else. And so if
you're really a talented model and that's what you want
(20:15):
to do, you have to learn that. And it's come
somewhat naturally to me, I think, because I want to
do a good job and I want the photos to
turn out great, and so that means blocking everything out,
not worrying about anything else, and just doing your job
in front of that camera.
Speaker 1 (20:32):
One hundred percent. I remember one of the muses I
worked with, or models I worked with. I was getting
it ready for a trip and I said, you know,
on this particular trip, we're going to be shooting in
the front about three or four hundred people, and we're
going to the shots are going to be tethered, so
they're going to be shown on the screen as we're shooting.
It's like, oh my gosh. And I said, and I'm
(20:53):
telling you right now, when we're in that moment, you
might get nervous, and if you do, that's okay. But
I'm just going to say, hey, just you and me,
and we're just out in the field shooting somewhere, and
you have to kind of go there in your head
to where, Okay, nothing else matters. We just got to
focus on our job and get this done. And and
it's really helped to It's really helped me. I remember
(21:13):
the first time I was invited to shoot in front
of all of the press for the UK, and that's
a funny story. I read all I brought me out
and I was going to shoot in front of all
the press for the for the UK and all the
sony stuff I've done. And I remember being in a
studio and I was setting up and they wanted I
was trying to set it up to the to how
(21:35):
I thought they wanted me to shoot, yeah, and I
was trying to cater to what I thought they wanted,
which is so not me. And that lasted for about
five minutes, and I find and I felt myself sweating,
which I don't get nervous, and I said to myself,
I literally in the moment, said what are you doing
who cares what they think. Just do you. If they
(21:57):
didn't want you, you wouldn't be here. So just do you.
So even in the studio with all these lights, I'm
setting lights on the ground, I'm putting boxes up and
then they started laughing and they're like, yeah, this is Jason,
He's crazy and it turned out really well. So I
think that's what I'd say, is, you know, just find
a way to be you and block out that noise.
Another question, how important is it for you to see
(22:18):
shots in the camera and the photographer shooting, and does
that vary based on who you're working with.
Speaker 2 (22:23):
I think, at least at this point in my career,
I do. I know my angles and I kind of
know what I'm going to look like in a shot.
So some photographers don't like to show photos, some do.
Some are kind of iffy either way. And I think
it does depend on the model as well. You know,
some models might get caught up in their head if
(22:44):
they're starting, they think they look fat, you know whatever.
Else it might not be a good idea to show
them the photos. But as a model, like the way
you look is part of your job and you can
change that, And it really does your posing and everything
is a big part of that. Like I know, I
see photos of myself, I'm like, wow, you're so skinny,
(23:04):
and then others where I'm like, wow, that was like
five minutes apart and you look not good at all.
Speaker 1 (23:10):
You know.
Speaker 2 (23:11):
It's like you just have to know that about yourself
and not get too a caught up in your head.
And again, if you're trying to do a good job,
you just improve. So I like seeing the photos a
lot of the times because I can tweak little things.
I can see what I like and what I don't like.
But also if you're just posing and moving and getting
a lot of different shots, you should still have great
(23:32):
photos whether or not you see the photos.
Speaker 1 (23:34):
Yeah, And I think from my perspective showing shots to
a model or even a client, I gauge it based
upon how the shoot's going. If I think that they
need it, sometimes they need a boost. Yeah, but you're right.
Sometimes you can show a shot to someone and they're like, oh,
(23:55):
I thought I looked a lot better than that, and
all of a sudden, the shoot, like their confidence is shot.
So you really have to be careful because it can
go both ways. And one thing I would tell photographers
is that the thing that's crushing for photographers And I
had to learn this is that I would go and
I would I would have a shot that I think
(24:17):
is amazing, and I would show it to a model
and she's like that's cute, Like you're just tell me
my shot is cute. I want to kill myself right now.
And it's because we see things differently. See I see
the pose, I see the lighting, I see the composition.
(24:37):
Models don't care about that now they do. I'm not
saying that they don't, but we all have our priorities
of what we look at first. What do you see?
What do you look for first? When you look at it?
Look at a picture behind, I.
Speaker 2 (24:47):
Think obviously, I mean I'm looking at myself right, you know,
I'm looking exact my body, I'm looking at my face.
If I see a single flaw in that photo, just
based on that, like it could be a great composition,
beautiful shot, but like, that's what I'm looking at first,
And if I see just any little thing that I
think is off, it's gonna be like, oh shoot, like
why did I do that? Like this would have been
(25:09):
such a great shot if I didn't look like this,
you know, Like, so that's the one thing, and I
do think you know, obviously, models and photographers are looking
at different things, and typically models like their face one
way or their body one way, and it's it's something
to think about as a model, is that you're still like,
even if your face isn't that exact angle that you
(25:31):
love personally, you're still probably look great.
Speaker 1 (25:34):
Right.
Speaker 2 (25:35):
You can't be too hyper critical.
Speaker 1 (25:37):
So I like that. Yeah, yeah, And I know what
you mean, because obviously when I'm doing events or stuff,
there's lots of people who take pictures of me. I'm
the model, but people take pictures of me and I'm
the same way. So I have to say, I totally understand,
because it could be like this incredible shot, right, but
if like my if like fat in the shot, I know,
I'm like nope, They're like, Jason, look at this shot.
(25:59):
I'm like, no, well that's nice. Yeah, that's my version
of cute. I'm like, oh, that's nice. And then they're
like they're crushed, like this is an amazing shot, and
I'm like, it is, but I.
Speaker 2 (26:10):
Don't like how I look in it exactly.
Speaker 1 (26:12):
And I think that's the perspective we have to remember
as photographers, and that that took me a while to
get okay with because I would be like, my feelings
would get hurt, like, oh my gosh, they don't like
my work. And I had to get past that and say,
this isn't your work, this is about this is about them,
because photography is such a it's such a personal thing
because you're literally taking a picture of that whole person everything.
(26:38):
They represent all of the turmoil that's going on in
your head. Maybe at the moment, you know, fighting with
the boyfriend, Bill's job, whatever it may be. There's a
lot going on in your head to where you have
to think a lot and you know and and and
look your best at the same time. So any other
advice you want to give to models out there or photographers,
(27:01):
what'sh your photographers not do?
Speaker 2 (27:04):
That's funny.
Speaker 1 (27:06):
Is this is this is great information for out there.
Speaker 2 (27:10):
I do think the most important thing when you're setting
up a shoot with a model is just being as
upfront if you haven't met them before, especially, it's being
upfront with what you're doing, what you expect, what your
images are like, you know, what clothing, you know. All
of that can really make a model feel more comfortable
coming into a shoe, and I think that's really important,
(27:31):
especially you know, usually models are girls and photographers are
typically guys. Like it's just you want to make them
feel safe, and that's how you're going to get the
best shots. I think for models, you know, you have
to obviously come into every shoot with the open mind,
and every photographer is different and likes different things, and
(27:51):
you know, some it's good to know, like looking at
their portfolios what kind of shots they do, but you're
still never gonna know, and some photographers are going to
say things like, oh, let's not do that side of
your face, or you know, like oh, like I don't
know about that fat role, or oh when you put
your chin down you have a double chin, and then
other other photographers are gonna want you to put your
(28:12):
chin down, and then you get confused. But you just
can't every single shoot. You kind of got to reset
just a little bit because it's gonna be different and
you can't be too worried about your rules or whatever.
The last photographer said, like.
Speaker 1 (28:25):
Well, and you know what I'm gonna say to this
because I'm big on this, and this is I tell
photographers all the time, stop saying stupid stuff like you're
talking to a human being. I don't care if they're
a model. I don't care who they are. You're talking
to somebody. So when you mentioned and I hate it
when photographers tell models this is the better side of
your face. Yeah, I hate that because you're messing that
person up. And they will if you're a well established photographer,
(28:49):
it will get in their head that their left side
or the right side, whatever it may be, is just
not as pretty or good looking as the other. And
all of a sudden, I was in I was shooting
in England and a girl kept through on hair in
front of her face and I kept I asked her.
I finally said, why are you doing this? Why you
keep throwing hair in from your face? And she said, well,
it's because photographer told me my nose was big. And
I was like, that's horrible, you know. Or if you say, hey,
(29:12):
don't do that, you know, I kind of see your
fat roles when you do that. And again, you're talking
to somebody, and everybody's different. But in some cases photographers
will say that to people who have to us common
people out here, no fat, They're like their bodies are
so sculpted and beautiful, and they're still nitpicking it. And
so my personal thing on how I pose, and I
(29:34):
think Sophia would say, I've never ever said a single
negative thing. It's just not the way I communicate. It's
all about if there's something not right about the picture,
she will never know it. I will just fix it
with the post. So if she says a certain way
that isn't as flattering to her as it could be,
I'll okay, cool, that's great, just go back a little
bit perfect, that's amazing, versus pushing that negativity into the shoot.
(29:58):
Because once you start injecting negativity, this is a whole
life thing, I believe. But once you start pushing negativity
into into a situation, scenario or a person, that's what
you're gonna get back. Right. And I've seen countless photographers
they don't know where to start. They would say, I
don't know where to start, want to start to shoot?
Just just start playing, just start having fun. So have
you ever had a photographer communicate with you in a
(30:20):
negative fashion that made it more difficult for you to work?
Speaker 2 (30:23):
I think you know, obviously I've had nothing like really horrible,
but I've definitely you know, definitely people have said like
you need to suck in a little bit, or you know,
like stuff like that.
Speaker 3 (30:34):
And if you guys have seen this one, I want
you to see the picture of Sophia if you've seen her,
For someone to say to her that she has to suck.
Speaker 1 (30:40):
In, to me is it's outrageous.
Speaker 2 (30:42):
But also like I think to be a model you
need to take that with a grain of salt. Okay,
you know, obviously I would prefer a photographer to say
it in a little bit of a different way or
you know, like say it slightly more like how you
were talking, more positive of just get her to move
a little bit. But I want to get the best
(31:04):
shot out of it. And I'm not gonna like it
if I know I have a fat role, you know,
or like not but a skin roll that's like, you know,
And so I do want to know. But I think
there's a there's a better way of saying that. And
I have had photographers be like, let's do this side
of your face, like or which one's your better side?
And I'm like, oh, shoot, do I have a better side?
And then I started thinking about it and again, like
(31:26):
it's just all of those little things and the next shoot,
it definitely does stay on the back of your mind.
You're like, I don't really want to turn my face
that way, even though the light's that way and that's
the best composition. Like you're like, I'll shoot yeah, yeah, yeah.
Speaker 1 (31:40):
And the other thing is if when photographers say that,
the other thing that you're doing is you're eliminating, like
Sophia just said, you're eliminating the creative options. Because if
she's sitting in the street and I'm thinking of the
snaxt gain, but if she's sitting in the street and
she wants and I need her to turn her head
to the right because of the way just what's going
(32:00):
on in the background, the way she's positioned, shooting her
with her head position more to the right is going
to look better if it's in her head that that's
not the good side of her face, which is it
isn't both all of you is beautiful, but she's not
gonna want to do it, or she's gonna be very
hesitant to do it. Yep. So, and I agree with you.
I understand what you're saying. You want to get the
best out. You want a photographer to correct something. So
(32:21):
you're like, well, why didn't you say something? I had
a skin roll and you didn't say anything. I don't
want to hurt your feelings. I get it, like models
need it tough enough to but I think there's just
that balance. And again, this is a life thing for
me on how you correct people. You don't correct people
by putting them down. You correct people. Yeah, you just
you just find a way to be constructive without being
really nasty. So that's just a life thing. But yes,
(32:45):
any other parts of wisdom that you'd like to leave
with the audience today, Well, was.
Speaker 2 (32:53):
Model having gone to Jason Lanier's lighting sessions.
Speaker 3 (33:00):
To hear what's going to come out of her mouth next.
This was totally not prepared even once she started with
her like her voiceover voice as a model, So let's
hear this.
Speaker 1 (33:10):
What are you gonna say?
Speaker 2 (33:11):
It's really not that big anyway. I'm just gonna say, like,
I think something that I did learn from you that
I hadn't really thought of a lot before is like
thinking about your face and where the light is and
that kind of stuff, and also knowing it helps to know,
like if they're taking far away shots, if they're taking
close up shots, if you're thinking about are your hands
(33:32):
in the composition? Are they not? Do you need to
worry about that? All of that kind of stuff can
really take you to the next level. I think as a.
Speaker 1 (33:39):
Model, Okay, that beautiful, beautiful feedback. I was, that's just
amazing feedback, because you're absolutely right. One thing that I
do when I start working with a model for the
first time was I will kind of explain my process
of how I pose and how I shoot, and I'll say, Okay,
now I'm shooting just your half body up, whole body,
you know, or headshot. I will explain that to them
(34:01):
so they can look their best. And taking that little
bit of time to familiarize yourself with your subject, especially
when you haven't worked together, is very important. How would
you say a photographer, I just thought another question because
they always say the first you know, five ten minutes
is so awkward, So how would you say that. I
know what I would say to this, but what would
(34:22):
you say? The best way is to overcome that awkwardness
when you're meeting someone for the first time and you
are trying to start a creative groove together.
Speaker 2 (34:30):
That's really interesting. I'm typically an awkward person myself. However,
that's very hard to believe. I feel like, you know,
when you're going into shoot, your common goal is to
make something cool and that you're both gonna love, and
so I think talking about your vision and your work
(34:51):
and what you love and doing all of that kind
of stuff could really, you know, break the ice and
talk about something that you are both interested in.
Speaker 1 (34:58):
So absolutely, and what I would say to that is
and I think Sophia would would say this when we met.
We met in downtown in the French Court the first
time we decided to shoot together. And people are gonna ask,
by the way, how did I find Sophia, because that's
another thing. I just went right onto New Orleans Model
hashtag New Orleans model on Instagram and I found her.
(35:21):
I'm like, oh my gosh, she is gorgeous. And I
sent her a message. And again it wasn't some weird message.
It's hey, you know, I'm coming down and I'd like
to work together, and and and we ended up shooting together.
But you know, she goes and checks out my work.
And I was tell photographers be posting. You got to
be posting the work, and whatever you're posting, they're going
to want to. They're going to look at that engage
(35:41):
whether or not you know you're worth the time to
work together. But that whole feeling comfortable, I always tell people,
just treat it like you're meeting someone for the first
time and you have to just just talk about stuff.
Just Hey, so you're a student here. When I met her,
she was still a student. You're a student here. That's amazing.
How do you like New Orleans? Which just make some
small talk and start to shoot and then before you
(36:03):
know it, you'll you'll find a creative groove and you'll
be on the same page. Yeah, I agree. What's the
worst thing I've done to you or made you do? Dude?
Speaker 2 (36:17):
There's so many, many of which would be like, I mean,
there was hosing down in the wedding dress, but that
was kind of fun.
Speaker 1 (36:29):
Oh my gosh. We wind into a waffle house to
eat and she's wearing a bridle gown. Now I love
this a great story because she's wearing a bridle gown.
We were doing some other shoot at an abandoned house
and we walked into a off house because she loves
some waffle house and she can eat. You wouldn't believe it,
but she can't. And we went in there and and
(36:51):
we were eating having a good time, and then I
just turned to the folks at the waffle house and
I said, hey, you know, can we do a shoot here? Yeah?
And so there was nobody else in there, and so
I kind of that kind of I paid, I bribed
them to let us have the place to ourself. And
that became a whole thing because the manager kept a
hundred I gave her and wasn't sharing it with the crew,
(37:12):
And then that turned into a thing where the crew
was coming to us after the shooting and saying, hey,
did you give her money and not us? And it
turned into the whole thing. But we did this amazing
shoot in the waffle house, and talk about that spontan
eighty just we just decided to shoot. She's pouring syrup
all over so sugar all over herself. And then after
the shoot, what happened when we do we went to the.
Speaker 2 (37:33):
Back of the waffle house and got out the hose.
It was a little cold. He hosed down all that
sugar and syrup off of this wedding dress and me
in the process.
Speaker 1 (37:44):
I think we hosed off at least five thousand calories.
Speaker 2 (37:47):
Oh yeah, well I probably also consumed some of those calories.
Speaker 1 (37:52):
Yeah. And I'll tell you what, if you go out
to eat with Sofia, which is I would recommend, it's
quite an experience. She will finish your plate, and she
will finish other people's plates, and then you will look
at her and say, how Now. I know you work
very hard and you work out a lot, so I'm
not taking anything away, but it is incredible. It is
(38:13):
incredible to see how beautiful she is and she can
consume so much, so much food.
Speaker 2 (38:19):
Thank you appreciate that.
Speaker 1 (38:20):
So so there was the washing down. Any other thing
that comes to mind?
Speaker 4 (38:25):
Snakes, fire, No, well, I will say swimsuit in junk wait,
non jungle, but like what.
Speaker 2 (38:36):
Forest Seattle or close to Seattle? That was bugs swarming,
lots of bugs. I don't like bugs.
Speaker 1 (38:46):
I can tell I killed long legs for her today.
Speaker 2 (38:48):
Yes, you did. I do appreciate that. But yeah, I
mean that's also another thing you got to think about.
You know, when you're going into nature and shooting in
a swimsuit, you might get bit up. There's all that
kind of stuff.
Speaker 1 (39:02):
But yeah, and that's a that's another thing is try
to if you can. And I'm not going to pretend
I'm the best at this because I'm not. But try
to have like a little model survival kit. Yeah, like
bug spray, suntan or some block first aid kit.
Speaker 2 (39:18):
Yeah, the bugspray was just not one that I ever
thought of before that one. But you know, you live
and you learn.
Speaker 1 (39:24):
Because we were putting moss on. Yeah, that was That
was a fun one. Well, Sophia, I can't thank you enough.
You're amazing.
Speaker 2 (39:33):
Thank you.
Speaker 1 (39:33):
You know, I love you and I think I think
the world of use. So she took me to her
family's big rich restaurant in Louisville. I got to meet
her mom, got to meet her mom. Oh, and you
do have to be patient because models, we'll call you
and say, hey, I missed my flight.
Speaker 2 (39:53):
That was not my fault and I still made it,
so did help.
Speaker 1 (39:59):
Yeah. So, well I was down in Atlanta, yeah, and
you were up in Louisville. And we met somewhere in
the middle. Her mom drove her down, which is really
sweet of her. Yes, and I drove up. We met
in the halfway point. H and uh because we had
an event I think that day that night. Yeah. So
(40:19):
but yeah, I think it's just anything in life. If
you just try to kind of relax a little bit
and realize that we're all just going through this together.
And yeah, if you're patient and kind and loving to
other people, it ends up being a lot better for
everybody involved.
Speaker 2 (40:33):
Ye for sure.
Speaker 1 (40:35):
Well, thank you for sharing your time with me.
Speaker 2 (40:38):
Of course.
Speaker 1 (40:39):
Yeah, I think I think you're amazing. So tell them
one more time where to find you?
Speaker 2 (40:43):
All right?
Speaker 1 (40:44):
Yeah?
Speaker 2 (40:44):
My my instagram?
Speaker 1 (40:46):
Oh did did we get a meet out? She met? Guys?
Speaker 2 (40:50):
I I was thinking either Instagram or ig But anyway,
my Instagram, what did you just Instagram versus IG?
Speaker 1 (40:57):
Oh? You were just thinking which one you were going
to say?
Speaker 2 (40:59):
Sometimes when I'm thinking of two words at the same time,
I'll just kind of like combine them into one word
on accident. Okay, yeah, no so but anyway, it happens
to the best of us, it does. My Instagram is
baser ba s R dot Sofia with a pH so
the pH correct.
Speaker 1 (41:19):
All right, guys, thanks for listening. Until next time, I'll
put you on the spot again. Oh, keep shooting, never
give up on your dreams. Make sure to share the podcast,
make sure to put it out there with other people
so they can listen to It's one of the top
podcasts and photographies, which really cool. Thanks for listening, guys,
and I look forward to seeing what comes next. Until
next time, keep shooting, never give up on your dream spot,
(41:43):
find the right gear that works for you, and remember
what Miss Sofia.
Speaker 2 (41:48):
Don't give up, never give up.
Speaker 1 (41:52):
You only have what one chance to get it right.
There you go, All right, guys, we'll talk to you later.
Speaker 2 (41:59):
Bye bye, Hey are you an amazing things? Go? Lee
blow strings gold
Speaker 1 (42:07):
Leaves a legal rings
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