Photographic content is the driving force of the adult Internet. It’s often said by many in the industry that content is still king and by offering original, high-quality content, a webmaster will have a better shot at attracting and earning recurring profits.Colin Rowntree, owner of Wasteland.com and Greg Gregory from CV Productions both recognize this fact, and were asked to host an Internext seminar on how to create better content. Two models, Regan Starr and newer model Nicole, joined the panel to serve as the photographer’s seductive canvas.

The Setup

Although Rowntree and Gregory observed somewhat cynically that more and more photos are taken in Venetian hotel rooms for unique content, they hit on a key point: If you are trying to make your content look unique, try not to let hotel rooms LOOK like hotel rooms in your shoot. Fred Lane (Sexbizlaw.com), moderator for the seminar and an adult industry attorney, added that photographers should be careful to make sure no signs or copyrighted material ends up in the final shot to avoid any legal issues involving copyright infringement.

Gregory stressed that there are certain rules to which all photographers have to adhere. First, all models must have identification proving that they are over the age of 18 and all models must sign model release forms. He suggested to have the releases signed and having the model’s IDs in hand before clicking the shutter, thus keeping models from withholding rights to their photos (especially after spending the whole day with them). This will also keep authorities at bay should they show up during the shoot.

Lane added that releases are needed even for friends/spouses; there is “no such thing as a good-friend exception” when it comes to proving legal age and consent.

Rowntree and Gregory had opposite opinions on what kind of camera to use. Rowntree expressed his loyalty to film; Gregory to digital. Both admitted that each medium has its advantages.

Rowntree said he prefers film because it gives him more latitude while shooting and results in higher-quality output. Non-professional digital cameras (many of them under $1000) tend to be too automated to customize depth- of-field, and inflexible in dimmer lighting situations.

Because taking film to your neighborhood photo shop to get prints may cause problems, and because scanning in those prints can be cumbersome (they may end up losing quality in the transmission), Rowntree suggested having photos burned to CD instead.

He said he actually used Wal-Mart’s photo-to-CD services for a year before finding a smaller higher-end company (Hyperscan.com).

Gregory, on the other hand, made an initial investment in a $15,000 digital camera years ago, and is able to avoid developing costs. He said that being digital has helped not only cut down costs, because he doesn’t have to deal with film or developing, he also is able to take more than 200 photos to a card. This process doesn’t interrupt the flow of the photoshoot (and having his models need to run off to take a cigarette break).

“Thirty-six exposures, that means every thirty-seventh frame you have to change film and chase down your model,” said Gregory. “With 200 frames per card I can avoid that.”

Gregory said he tends to shoot 1,600 to 1,700 images in a session without spending a dime, in comparison to spending money on cost of film, developing, and CD creation.

Both photographers suggested getting separate studio lights and an infrared sync for them. Using the flash on the camera can give a harsh and flat look to your photos.

Dealing with Models

Rowntree said he thinks of photoshoots as theater — he’s the director, and the models are the actresses. The less experienced the model, the more directing he does. Better models need less structure, and tend to be able to take small amounts of direction and run with it.

“Never ever do the ‘lay the model on the bed and stick a butt-plug in’ thing,” Rowntree added. “It’s not compelling. Photoshoots should have a definite beginning, middle and end. Tell a story with your shots.”

Gregory suggested that if you really want a model to work with you — you need to work them. “Give them a mental script. What do you want to achieve? You need to know if the model will do it. Will she play with toys? Will she bring her own or do you need to supply them? How many scenes will you be doing? How many outfits? What lights will you need? Will the shoot be outside? How many shots are you planning?”

Gregory and Rowntree said they both pay their models per session, not per hour. Costs for models vary on experience and how complicated the shoot is.

Gregory suggested starting with what they call “facials,” facial expressions, that is. Then, have the models slowly undress, and capture the process. He said that most models appreciate being guided and directed.

Regan Starr, one of the models for the sample photoshoot portion of this seminar, added that a time schedule was very important to the models.

“During a long 6-hour shoot, there is nothing scarier than a hungry model,” she said. If a shoot is not organized, it is not going to go well. Having a make-up person available is important to the models (even if not to the photographer), and noted that not everybody has the ability to put makeup on themselves. Starr also suggested making robes available to keep models from feeling so vulnerable.

Gregory agreed, saying that when a model gets to the shoot, have them put a robe on as soon as possible, so that any clothing lines can wear off. Rowntree suggested offering the models a glass of wine, if they are interested, to loosen them up.

Gregory said that he always pays cash on the first shoot — this makes the models more comfortable. After they establish a relationship with the models, the photographer or producer should pay by check and make sure to comply with W-2 tax forms.

How do you handle the girls? Definitely never with foul language, said Gregory.

“Never say ‘make love to the camera,’ ” quipped Rowntree.

“Use fun words,” added Gregory. “You can flirt with the model, but no touching.”

“If you are going into bondage/fetish shots, keep checking in with the model and make sure they are comfortable,” said Rowntree. Make sure their collars aren’t too tight, and make sure they aren’t hurt. Give them a safe word and signal so that they can immediately regain control if they need to.”

Gregory said that using platforms are helpful, because they are great to get down and shoot up, and to be able to get different angles. Don’t just stand and shoot straight at the model, you don’t want all the photos to be on their level.

The quote of the seminar, courtesy of Rowntree: “If your models aren’t wearing panties and you are shooting up at them, make sure to watch for drips.”

The Shoot

Rowntree and Gregory then took turns directing the photoshoot and doing the actual picture taking, so that the audience could see both rolls.

“If you have the model looking at the camera,” Rowntree explained, “It gives the effect of the model interacting with the viewer.” Without that, the photos come across as more of a play.

“So much of erotica has to do with the taking off of things,” Rowntree said. When dealing with bondage, it is good to show the actual placement and removal of accessories like collars and gags.

Rowntree suggested photographers visit OneModelPlace.com. He said it is the largest repository for models that he has found, and is convenient because you can sort it by location and many other variables. He also suggested having a “models click here” link just in case an interested person visits your site.