Originally Posted by Paul Markham

Because it's the shooter who generates the models output. And all shooters know this.

Very rarely do we get a girl who wants to be in porn. Contrary to what they tell some, they're doing it for the money. And this is the only reason that makes them manageable. Girls who want to be in porn, would be a nightmare to deal with in most instances. Upset her in any way, give her the wrong color T shirt, boy, dildo, sofa to sit on, make up or cup of coffee and without the money element the shooter could be in line for a problem.

So a good shooter needs to understand models, whims, moods, monthly cycle, personality and character. A timid girl might need building, an over confident one needs bringing down. Many girls need to be brought out of a shell they wrap themselves in. Professional wrap themselves in a shell of "I've done this a 100 times before and you'll get that performance." Some girls have never been stopped and told it's not what the shooter or client requires. Telling them without putting their back up is tricky. Yes she will sit there and look very attentive and take in all you're asking. then get in front of the camera and you wasted your time.

So build a bridge to her. That's the best way to describe it.

Shooters need to make sure they know exactly what they need from her, the scene is set out in his head, or/and on paper. Scene is built and lit, clothing if required laid out, drinks, dressing gown, towels, shower, shower soap, douche, razors, foam, everything is ready and waiting for her to arrive. So when she does, or they, arrive you can sit down introduce yourself and get to know each other. If it's a girl you know rebuild the bridge that's already there.

The shooters state of mind is essential here. If he thinks he's someone important, or superior, subservient, etc. He will come across badly. If he thinks she's a goddess, slut, whore, unfeeling, made of glass, made of steel, etc. It's a team job a team trying to achieve a goal. The shooter is the captain of the ship. He respects his crew, doesn't fear or dislike them.

The first 20 minutes is the time to establish yourself as a good leader.

This is the little thing that separates someone who points a camera and someone who creates a pornographic fantasy. And the toughest part of shooting porn. The best advice is to read a book on body language and charm. All the great shooters I've know had a charm unique to them. Viv Thomas, Steve Colby, John Mason, Jack Harrison, etc.

The quality of a shooters work isn't his charm on a board with a bunch of people who never bought porn working from their spare bedroom or Mum's basement. It's the charm his or her models get when the walk into the location.