How To Get The Most Beautiful Talented Models.

We've been told a time or two that we seem to have cornered the market on some of the most beautiful models in the region. We hear it from prospective models, from photographers and the occasional observer. The question that frequently comes up is where do you find these stunning models to work with? 

I've always the found the idea of going around trying to find models kinda distasteful. I simply don't have the personality nor the patience for it. Additional is the fact that on a deep buried level it was too close to 'hitting on people.' "Hey, you're gorgeous. Wanna take some pictures?" That just seems weird to me. But some photographers have the gift and the personality to talk a complete stranger into just about anything. Maybe I'm just not as vested in any singular person to be that interested or maybe I'm shy. I have no idea. It feels weird to even consider trying and I've never been compelled to. 

If you're starting out you've also tried all the online sites where photographers and models meet and work out collaborations. Many many years ago I'd been there and done that. That's a hit or miss approach with a very low turnaround. It's mostly miss. If you want to photograph a ton of people then certainly websites are the way the go. If you want very very high quality collaborations and high quality models then you'll want a different approach.

Another way is to use an agency. Agencies are often looking for photographers to photograph their new models; to help those models get their ports started and to give them some experience in front of the camera. Establishing a relationship with an agency may be a great idea for you. You'll have to decide for yourself on that. Agencies are kinda... Well... Ambiguously beneficial at times to say the least. But there are photographers that have nothing but the best to say about their agency relationships. 

Over the years I've established my own personal way to get the absolute best of the best models. The trick to getting them for me is not to try - at least not a direct approach anyway. I found that by concentrating more on the quality of my work, higher quality models found me on their own. It seems so simple now but that wasn't always the case. It's a steep hill to climb but putting my efforts into turning out higher quality results eventually, albeit slowly, found the people I wanted to work with for me. More to the point, my best work with models has most often been a referral from another model, a photographer or a paid assignment. There is no higher praise than a referral. That means someone likes or loves your work enough to share you or to recommend you. That's bigger than anything. 

On occasion I'll still stumble upon someone when no substitute will do for a very specific look and I'll go after one model in particular. But over time I've learned that the models that have been statistically more professional, more communicable, more trustworthy, and more punctual tend to find us first. It seems that when you have to pursue them they're simply not as committed to the process or the project and the results are mixed at best if the model shows up at all. It's sounds too much like children dating and chasing each other around as if it's a "playing too hard to get" scenario. Well I'm too old for that so I turn back to what works for me. 

It all brings me back to my original method - concentrate on quality and when you get your model whether it be a male or female spoil them senseless. They will always recommend like minded beautiful and stylish people like themselves that cherish the high quality results you repeatedly give them. Once you hit referral stage you will never have to go out looking and you'll always have professional talent. I've actually had models come up to me and say "you absolutely have to work with my friend or this other model I just met because she's so talented and beautiful and she would compliment your style very well." That within itself would be a huge compliment and a testament to the kind of work you put out. For us, we concentrate on quality and from quality comes all the work we can handle. That's how we get great models.  

Should I Sign With A Model Agency?

Should I sign with a model agency? It is by far the most common question I get from models considering agency representation. It is a serious question with immeasurable consequences that can be the best opportunity of a lifetime or potentially disastrous. While I may not have all the answers you’re looking for or even wanting, I can tell you about my experiences working with models that were both signed and those that were not as well as the knowledge I’ve gathered over the years with modeling agencies.

First I must say that I am not affiliated with an agency. I am not a lawyer and I strongly recommend you seek one before signing anything as sweeping and complicated as a model agency contract. If you want the inside scoop you'll want to speak to someone that is more familiar with the legalities; preferably someone outside of an agency that can speak with objectivity and authority. However, what I offer is an unbiased perspective from someone in this market area that has photographed models for years; models both new, established, signed and unsigned in all types of modeling genres. Therefore, my advice isn't the only advice but is simply my own perspective about the industry at large and my thoughts on whether or not you should sign with a modeling agency. 

What Agencies Do

The ideal modeling agency will do what you would unlikely be able to do for yourself. That is; that get you consistent quality modeling work. They keep you busy. An ideal agency has all the right connections with designers, magazines, clothing companies, retailers, advertisers, fashion brands, maybe even television producers, large and small companies alike. Essentially anyone that can make promotional and advertising decisions related to needing a model your agency would know them. Your agency has established a relationship with these organizations and as such are able to get work where no other agency or individual can. It saves these organizations time and money to be able to go to an agency. I have first hand knowledge as an organization I worked for found it to be much more efficient to go directly to an agency, describe all the attributes they needed in a model and let the agency narrow down the field rather than going to the open market without knowing what they would get. 

The agency provides all the grunt work; selecting the model(s) prospects for the organization, negotiating the terms and contractual arrangements while also providing the payment mechanism. They are to be the perfect go-between. They get you work and they provide a much needed service to an organization, company, designer, promoter or creative director needing a model.

That is a huge undertaking where agencies are instrumental in navigating the open market and making things easier for everyone. Furthermore, agencies can keep the model out of legal issues by restricting shady or questionable deals he or she may be likely to engage in. The agency typically reviews and controls all assignments and decides the best course of action they will take. They know the fashion and marketing landscape, they understand advertising and promotional needs of an organization and they know how to match models to their clients’ tastes and preferences. They provide an endless supply of talent tailored and streamlined perfectly for the client’s needs while being able to hand select and pre-qualify talent the organizations may not have otherwise ever noticed or had the time or resources to discover on their own. It is a perfect arrangement in a perfect world.

The larger the payout, the larger the rewards; but not always. Agencies can get paid a variety of different ways but the one most related to modeling is the collection of a percentage of all work a model books during her contract terms. The industry average is 20% but may vary greatly from agency to agency and differs depending on local and regional markets as well as the type of agency. Additionally, a model’s specific contract may differ from other models within the same agency. However, 20% may not be all the fees an agency may take. Some agencies have been known to also take out a model’s full expenses in getting to and from assignments and occasionally even some test photo shoots. This may include meals, plane tickets, boarding, fuel costs or any other associated fees. If a model isn’t careful, he or she could owe the agency on those first few assignments. Or the model may be lucky to break even on some work. 

A staffing agency by any other name is still a staffing agency. Modeling agencies have more pomp, and the literal mirrors, lights and glam that any other staffing agency need not employ. Yet, they are still a staffing agency. They provide labor resources for organizations. Period. 

What Are You to A Modeling Agency?

Labor is what a model is to a modeling agency. They negotiate payment terms, do the payouts, control legal matters and provide consistent quality work for the model and the organizations that contract thru them. Despite the glam, agencies are staffing management and employers for the model and headhunters for companies that need them. Just like a staff agency, they prequalify models (workers) and assess their strengths categorically so as to place them in the proper jobs. 

Agencies recruit thru a variety of means, open calls, scouts, walk-ins and other. What most agencies are not is desperate for talent. The modeling field is vastly overcrowded and labor supply far exceeds demand for such talent. Therefore, an agency desperate and pleading for a new prospective model to sign with them suggests unsettling problems. Either they are very new and eager to sign talent or they are having trouble in their recruitment and/or business contacts. If they aren’t signing exclusive contracts with new models and booking models they are not making money. In any event, it’s often a bad sign. Considering how the next biggest thing might be the model around the corner, pleading for one single person to sign with them isn’t generally their practice if the model is new or largely unknown to a broader market. Flattering as it may be, an agency pleading for you to sign isn’t necessarily a good sign unless you have already made a name for yourself in the industry at large.

Why Do They Want You?

Should you sign with a model agency? First you're assuming that they are making an offer. Just because you want to sign with one does't mean you will automatically be accepted. I have seen inarguably some of the most beautiful women in all the world actually get refused by several modeling agencies they tried to sign on with. Some were told they were too commercial looking and not high fashion enough. Others were told they are more suited for Playboy rather than catalog work. A few others were told they were too short, too thin or too heavy. Agencies are like any other staffing company. They tailor to their customers which are organizations that may need their resources; namely, access to models. Some agencies may lean more toward catalog models and trend to recruit models that suit that look and physical profile. Other agencies may be prominent in high fashion runway and will tend to follow the physical guidelines stereotypical for those type of models in their recruitment selection. Just like some staffing agencies tend more toward clerical work, agencies are the same if they lean toward more glamour, commercial, runway, catalog, print or even television ad work. Each agency will have strengths and weaknesses and you best research each and every one and consult with a lawyer before signing anything. 

Knowing your prospective agency’s booking history will go a long way in determining if and who you should sign with. As with most agencies, most models will not get booked for anything. Just because you’re signed guarantees you nothing. However, you will be limited or totally restricted in what jobs you can take as well as shoots you get to take upon yourself depending on your contract. Should you get booked you might be limited to what jobs the agency wants you to take. If you’re uncomfortable with lingerie and you’re not comfortable with that then you need to make it clear in your contract before signing and apart of your contract agreement. Yet, the more restrictions you have the less likely you are ever to be booked or signed providing they show interests in you at all which is already rare for more prominent agencies. 

The Basics

I have known few models that have been signed that have been completely happy with their contracts; at least not in totality. They are thought to be highly restrictive. In exclusive contracts, the model is inhibited from doing almost anything on his or her own. Everything he or she does must go thru their booking agent. That means even non-paid assignments like photo shoots and such the model wishes to explore on their own. The model is often restricted from signing any model release of any sort without the oversight and approval from their agency or representative from that agency. The model will not engage in any commerce activity related to model of any sort without agency approval and oversight whatsoever throughout the full terms of their contract. Any money to be paid the model will require all applicable fees and payments be made to the agency as it pertains to the terms of the model contract. Unfortunately, exclusive model contracts are the most popular and most sought after contract most agencies want. They want all potential sources of revenue that a model can and will make on their books to insure their percentage and fee payments. 

Booking photoshoots can be difficult as well. Agencies can insure that photographers are authentic, safe and provide quality work for their models. But while having quality oversight can be a great asset to a new model, the agency will control everyone that model works with on paid and non-paid assignments - should the letter of most exclusive contracts be followed precisely.

Also, booking a model under an exclusive contract can be a tedious and frustrating experience for most photographers not already affiliated with the agency. Many photographers tend to brag about how many agency models they shoot with as if somehow this makes them better photographers. By the same token agencies tend to boast about how they vet and prequalify all the photographers a model works with, again assuming that all these people produce high quality consistent work the model actually wants to do. All the time the model is blocked out of any work he or she wishes to partake upon for themselves (even as simple creative exploration) outside of agency control. More than once, modeling agencies have asked and even required me to pay a retainer to have access to their models; a requirement I refused to do. Considering the vast array of untapped talent available in the open market, paying to have access to models I’d never worked with before, for an agency I had no prior experience with, didn’t seem reasonable. In that respect, they actually hurt the opportunity of the model to get more experience and more notoriety since I am also a publisher, a graphic design and marketing professional with vast business contacts of my own.

Yet, having some familiar relationship with an agency from a photographer’s perspective can be at times, a good thing if and only if the agency can provide high quality models consistently and not inhibit that model’s growth and exposure; a horrible trend I see far too often. Unfortunately, I don’t have a BFF booking agent hidden away at an agency on my speed dial and this business is built on backroom deals and back scratch mentality rather than just high quality results. 

My Booking Experience With Agencies 

My personal booking experience with agency models have always been a strained one. Paid and unpaid, the process has always been very tiring and I’ve often wondered why a model would sign with these particular agencies at all. You see, agencies assign a model his or her own representative that essentially takes care of all that model’s assignment affairs. Too often have I sent request to agencies (I will not publicly name) to receive no reply at all. I have you know the work has been a mixture of paid and unpaid with a complete staff working on the shoot, an explanation of how the images would be used, a mood board of the project included, a call sheet with full staff credentials and past work portfolio links of all involved only to be met with complete total silence.

Other instances I have sent requests to work with a particular model to the model directly. The model expresses a strong desire to work with me. However, under the rules of her contract she could do nothing but refer me to her agent. After contacting her agent via phone call and email I was referred to another agent and then the entire matter was dropped after months of trying. The model contacted me to find out what happened but after several attempts and several messages I told her I couldn’t work with her because I haven’t heard from her agent. Her hands were tied because she couldn’t book with me because of the rules of her contract. 

On a seperate occasion I worked with a model who was unsigned. It was a perfect collaboration. She was beautiful, professional, punctual and extremely talented. She later signed with an agency. I tried contacting her again and she referred me to her agent. The process repeated as it always had. I never heard from the agent and the model was never featured on our magazine cover as I had intended. 

I have gone on to actually work with agency models with mixed results. But all in all my conclusion about agencies is that they are only as good as the people that work for them. More specifically, they are only as good as the booking agents and their management. 

The Good. The Bad and The Legal

Any and everything you do pertaining to signing a model contract from the agency should be reviewed by a lawyer; preferably one that specializes in the industry. If you think it’s not serious then you had better think again. Exclusive or non-exclusive, a contract that equates to ownership - ownership of you to a degree, your time and the products and services that you create paid and unpaid. All contracts are not created equal. If you feel you’re in a position to negotiate your contract definitely do so. But generally, the smaller, less known agencies will likely negotiate more while the larger more popular agencies are less likely to even let you in the door. Therefore, choose your battles wisely. You might trade less work, no work or less high profile work for a non-exlusive contract or sign an exclusive contract with a national premium agency for higher paying designer gigs. But nothing is guaranteed. You might be just another signed model not getting any work or the work you originally intended. 

One of the main hinderances (as if you need another) to even want to work with an agency model or a model wanting to sign a contract is that many agencies contractually obligate the model to agree that any and everything he or she produces with or without agency knowledge or approval during the terms of the model’s contract is the property of the agency. Should that be read the way it is written, that puts the model’s contract in contradiction with Copyright Law Title 17, which grants uncontested ownership of photographs under the ownership of the Photographer all things being equal. Essentially this presents legal ambiguity being that the model cannot assign ownership to anything that he or she cannot legally own. Furthermore, most agency contract wording try to side step any liabilities by trying to absolve themselves of any potential litigation by laying the fault at the feet of the models themselves. Essentially the model is forced to make the claim that they do this willfully and knowingly without holding the agency responsible for anything all the while the photographer has had their image use signed away without legal justification for doing so and without any liability to the agency. Therefore, the model is left in the middle of a potential legal battle of ownership and image use. The agency will blame the photographer, the photographer will blame the model and the model will say talk to his or her agency. It’s a game none wants to play. 

Should You Sign?

It is a huge question and the answer carries it’s own risks and rewards. But I can say that each person has to make that decision for themselves. Should an intelligent, highly organized, well connected individual choose to pursue modeling, I’d quickly recommend going at it alone. However, if you’re just starting out, shy, not well connected and not familiar with the industry at large I’d recommend researching a very very specific agency that is consistent with what you want to do with your career and that is in line with your modeling aspirations. As I've said, the benefits of a well respected agency still guarantees you nothing. Statistically, you may never do anything but small ads, local designers and a few local television ads and clothing companies or nothing at all. But you have to decide what is important to you.

You also have to be realistic about your chances of making it big. You have to be mindful of the competitive forces and more to the point, be mindful of your body type and potential placement in the market. The absolute most beautiful women I’ve ever seen don’t get signed. If I mentioned them you’d be shocked to know who they are or that they have even been turned down to begin with. But getting signed doesn’t mean anything if you’re not getting your big break. I know many models that see it as a kind of badge of bragging rights to say, “I’m a signed model.” You know what I hear when they say that? I hear, I’m hard to book and my booking agent will ignore most of your calls. I hear you’ll be transferred five times before you reach the right person. I hear, we can’t decide if you’re a free assignment or a paid one from the booking agent so we chose to ignore the phone call or email until we decide. 

But today, I’ve seen more unsigned models in television commercials, in print ads and on billboards than I can say about signed models that I know. They’re happy, they’ve done or doing what they want to do. They have control over their lives and can balance their family and work because they only take the assignments they want to take and go where they want to go. But they’re connected. They’re out in the community, they’re networking, they know people that know people. They are only taking assignments that bolsters their portfolios and careers. They’re choosey and they have a right to be. Such is the life of the unsigned. 

You have to decide for yourself. 

 

The GWC and Me

I've always held the belief that no creative should ever speak ill of another. We should all let the results speak for themselves. The fruits of my labor speak louder than anything I could possibly say. But a recent occurrence with a GWC really tested my patience. 

First let me define GWC for those in the dark on what a GWC is. GWC stands for "Guy With Camera." In the case of a woman it's "Gal With Camera" - or "Girl..." If you wish. The phrase is not meant to be an esteemed title for all photographers. It's meant to be largely derogatory to summarize everyone with a camera that believes themselves to be a photographer but really aren't. The type that literally photographs anything, anywhere or anytime without an inkling of prep, motive or attention to detail. The GWC person takes 1000 images of the same thing but doesn't really know what or why they're shooting at all. Maybe they like taking pictures. Nothing wrong with that. That same person that photographs bugs, flowers, cars and people without any real direction or consistent quality. I've heard models use the phrase to describe the "creepy guy" that wants them to meet him in the woods for a photo shoot without any idea of what they're shooting, where it will be or who will be there. Others define GWC as "spray and pray" photographers because they literally take thousands of shots in rapid fire mode in the hope they'll get a few keepers for their website or Facebook Page. Maybe it's for fun or maybe it's for some other reason but highly skilled photographers generally try to differentiate themselves through high quality consistent work. For everyone else, they say that describes a GWC, a time waster or as some might say, an "amateur." If you didn't know they are EVERYWHERE! They're on the streets with prospective models. They're sending you emails begging you to shoot with them. They're taking pictures of flowers and in a second they spin around and photograph an airplane. Or in my recent case they became a stalker of sorts. 

Now the story on our GWC or "stalker." It's a gloriously beautiful day. The sun is scorching but the sky is breathtakingly blue and there is a breeze albeit a damp and warm one. I have our fabulous MUAH, a one of a kind stylist and as minimum gear as I can carry. But the most commanding member of our entourage was our 6'4" (taller than me in heels and I'm not a short guy by any measure) Goddess of a model dressed to the 9s thanks to our stylist and she was insanely stunning thanks to our incredible MUAH. Amid gasp, several verbal Wows, Holy Sh**ts and a whole lot of staring we proceed to our destination. People literally stopped to watch our model simply walk by. They made a path for us with the rest of the team flanking her sides. I admit it was something to see. She was impeccably dressed and had I not known her, I may have thought her a celebrity. We might have been her entourage or her support staff and I her bodyguard from the looks of things to an outsider. But I'm the Photographer and I have a shoot to direct and a team to lead. 

Along the way we managed to pick up a few tails. Those are the people following along to see where you're heading and who you are. Naturally most are male onlookers while the few female onlookers simply took cell pics and swiftly moved respectfully on. Others just found an excuse to walk by and simply circled the general area to steal a few looks. But the most conspicuous member of our crowd was a GWC. He carried a camera of a brand I didn't bother to see with a zoom lens. He came closer and closer and soon I realized we had passed this guy on the way in. He'd been stalking us for awhile.

The largest segments of the crowd eventually thinned out but it didn't take me long to understand what this GWC was trying to do; what he wanted to do. He wanted to shoot our model over my shoulder. He wanted to watch me direct her, listen to my instructions, watch her move and shoot exactly when I shoot. He wanted to essentially rip me off. He wanted to take our highly stylized fashion concept for his Facebook Page (I'm assuming) and make it his own. I could see it in my mind; "look what I shot today" posted on his social media. That was my thought anyway. 

I tested my theory with the GWC. I verbally told the model and stylist what I was about to do. I pretended to frame the shot thru my lens. He lifted his camera at the same time. I lowered mine and so did he. I was more upset than I immediately realized. With as much respect and professional courtesy as I could muster, I turned to him and said why are you trying to take "My Shot (emphasis on My Shot). Surely there must be other things you can shoot?"  He had the audacity to ask me if she was a hired model. So as not to further test my own patience I simply said yes she is and essentially implied in word and body language that should he choose to be around that he might exercise some degree of professional decorum and at least be inconspicuous about his attempted piracy. 

In his defense, it was a public place and he can shoot whatever he wants within a certain degree of expected privacy for a passerby. But this GWC had absolutely nothing to do with the styling, choosing the model, the location nor working with perfecting the makeup and hair with the MUAH. He was the purest embodiment a GWC. He doesn't want to orchestrate his own production. He'd much rather rip it off with a spray and pray tactic he had obviously been employing for some time. It was clear he was walking around photographing whatever caught his eye.

He lingered for quite some time before my delaying got the better of him. I'm sure he managed to get off a few lucky captures. Given how gorgeous our model is and how beautiful a day it was, anyone would be hard pressed to screw that shot up even for a GWC. But it was his blatant disregard for the process that irked me the most; the long hours of planning, scheduling, organizing and orchestrating he didn't have to do. 

I'm sure he calls himself a photographer and that's fine if he chooses to misrepresent his level of skill that way. That's on him. I feel sorry for the people that may see the pic he likely pirated and think that somehow it represented his level of skill. As far as I'm concerned he's a parasitic opportunist. Photography is so much more than aim and click. It's a process. It's about respect and trust, creative vision, inspiration and collaboration mixed with technical skill. 

He might have asked for an audience. Or better he could simply have asked me, the MUAH, the stylist or model a couple of brief questions.  He might have asked if he could tag along or stand by to observe; not out of necessity but just out of respect. But the second he mimicked me so blatantly to steal my vision is the second he lost my respect. 

It's not my first on location shoot so I'm accustomed to drawing a few onlookers and even a camera or two that pops out. But this guy was gonna setup shop and stage an area in line of sight with my scene to pirate it. What he had done I found detestable and disrespectful. 

We weren't doing a commercial production that day. We were just a few professional collaboratives out doing a well styled project together and having some creative fun. In many ways, I probably left home not unlike this guy. I wanted to do some photography that day as well. What differentiated us is that I choose to have a higher quality product that starts with careful and deliberate planning, a project that was team casted and beautifully crafted by a small group with similar creative ambitions. Had he not been a parasitic leech then he could have chosen the same process. 

My Absolute Favorite Model to Date

I received the most unusual question the other day. I was asked by an acquaintance of sorts, "do you have a favorite model? Who is he or she and why are they your favorite?" Several people came to mind but for totally different reasons. I had to ask myself if I had an all time #1 favorite model I've worked with. It's harder to answer than I thought. 

After being in and around photography for years you meet a large number of people. Some you hope to forget and others become very close friends. I've been lucky in that regard. I hold no ill will toward anyone. In fact, I'd even say that my instincts have done me well. Sure I have a couple of stories that began well but ended with frayed nerves and tension. Nevertheless, those are very few from my side. It's just the nature of the business. Therefore, it's best to get over yourself and develop very thick skin and chalk the remainder up to misunderstandings to get over. 

But having a favorite model is a different kind of question that required me to give the question deep consideration. Why? Surely I must have a favorite right? Well maybe but not really. You see, the very person who may be my favorite today may not be later. I learned that years ago. People move on and develop different tastes, habits and preferences and I'm sure some of those models have as well. But as it pertained to having single person that I'd publicly proclaim as my definitive favorite, I'm thinking no. There are people around that I have amazing creative synergy with. But to say they're my favorite might be inaccurate or more to the point, to say so publicly would be insensitive and unprofessional. Are there models i'd prefer to work with more than others? Absolutely!! But my projects are so specific that I always seek out the best person for the best look and not necessarily someone I personally like despite the look. I'd be doing myself and that model a disservice to not consider whether a look, clothing or otherwise is appropriate or consistent with my style of shooting or what I'm after or they want. No one would believe me if I said that I didn't prefer a specific person for a project over another on occasion and they would be right not to. But to say "favorite" publicly is a bold move I need not do. I only want the best for everyone and myself. Publicizing a list of Favorites isn't smart anyway. I praise everyone because quite frankly they're all magnificent men and women. Firstly, I'm honored to have an opportunity to create art with them. They chose to work with me and for that I'm fancied beyond words. 

The other consideration is why would I be so obtuse as to publicly declare a favorite person on anything in this business unless it's a celebrity model or someone I haven't worked with yet. Not only would I be alienating every other model I've ever worked with, it makes those models think I didn't appreciate everything they've done with and for me. It's just not smart unless I've decided to retire. Even so it doesn't look very professional. That's the kind of opinion I think should be kept private and discussed among colleagues. Should someone ask me privately I might share more insight. Or should I feel compelled to privately share with a model how I feel about his or her ability I will. But if you're out there saying this or that about your all time specific favorite anything in this business I think you're setting yourself up for some intense resentment. 

 

To clarify, my answer is NO but with a "however." I may have a go to model for sports photography, a go to model for lingerie, a go to model for fitness, a go to model for fashion and so on. But no one is better than another. I've help choose over a dozen cover models and select images for ads out of hundreds of pictures daily. Are they all my favorite? Is there a single one? They are or at least they were at that particular time for that particular project. They're different people with different gifts. Sure they'd be flattered for me to publicly call them my favorite but what about everyone else I've worked with? Would they be flattered? Or would they think "wow, what a bastard. I've worked with him six times this year and SHE is his favorite?" 

Now I know everyone reading wants me to just stop BS-ing and just say who my favorite model is. You've followed my posts, my blog(s) or other social media pages. You can decide for yourself who you think my favorite might be. But if there is a person that matters the most to me creatively and photographically, you better believe that they PRIVATELY know who they are and it doesn't help for me to publicly downgrade anyone by saying I have a singular favorite. It's just bad manners.

What studio strobes do you use and what should I buy?

I was recently asked, “what type of strobes do you use?” My short answer is, “anything it takes to get the shot and anything that is available.”

It took some time to develop a knack to adapt to whatever I had on hand; even so, a situation will arise on nearly every shoot where what you have isn’t quite doing what you need and you are forced rely on your creativeness and resourcefulness to get the shot. 

I’ll be honest, I did not always have the budget for quality strobes. Despite having obtained a few, I find them grossly overpriced. Consequently, I try my best to minimize my dependency on any particular brand as much as I can. You’ll find that that when you start buying that most of the connectors are proprietary and that you’re obligated to buy into a system of modifiers and attachments that won’t fit anything else. 

Back to the question at hand, “what type of strobes do you use?” I’ve used Elinchrom RX strobes, Canon Speedlites and something tells me I’ve used AlienBees before but I can’t remember where. Additionally, I must have used a half dozen third party cheap import lights over the years before learning that quality matters in color and power consistency. 

For a person looking to buy strobes my top criteria would be to buy for:

1. Mobility - nothing more frustratng than lugging wires and huge heavy lights everywhere. Find a head with a built-in power pack or at least is adaptable to work with a power pack.
2. Price - Don’t ever buy what you can’t afford. As long as your strobes can produce consistent color and power you can become highly proficient in whatever you have. Even the least expensive unit can produce high fashion looks if you’re creative enough. I’ve often had to build my own modifiers, reflectors, or flats to shape the light.
3. Adaptability - sometimes you will need a beauty dish, a barn door, a soft box, a reflector, a strip box or an octabox. The more adaptable and configurable your strobe is the better off you’ll be in doing different types of photography . 
4. Cross brand capability - every single modifier you need may not be available in the brand you’re considering so consider a brand that has conversion rings and adaptable plates for moving from one popular brand to another on your modifiers.  
5. Availability - You need one more light but the local shop’s inventory doesn’t go into your setup or power needs. There are times you need to run to the camera store and rent another but they don’t carry a brand that matches your modifiers. Or the brand you have has been discontinued. Buy a mainstream top brand largely for it’s sustainability, it’s applicability to your shooting style but not because of popularity or price. 

I hope this was of some help. I can’t really say what I shoot with specifically because I’m always changing and adapting what I need to a given situation and a given photo shoot. 

How Many Images Should Be in Your Portfolio?

How many images should your portfolio have? I've been doing photography commercially as well as freelance for well over a decade and in that time this still seems to be something upstarts seems to struggle with. Every circumstance is different but there is a sweet spot; that perfect number that seems to be just right.That sweet port number is 15.

You can comb the Internet after reading this but what you'll find on nearly every blog, industry periodical or site are articles stating the maximum amount you should have and the minimum you should have. In short, if you can't say it visually in 15 images you'll want to call in a creative booking agent to show you how it's done.

What's the harm in having more? The harm is that you appear unfocused. You don't seem to know where you want to go or where you want to be. Additionally decision makers that hire from portfolios don't have time to look at your art nude pics no matter how good they are if you're trying to get booked as a hand model or get a gig as a product photographer.

In any creative industry where portfolios rule, one bad apple does spoil everything. As someone that still works as a commercial photographer and as a freelancer, I can tell you I lose interests beyond 15 images no matter how interesting that port is. It's a numbers game but with a higher number pushing me towards boredom. With editors or creative hiring managers having to comb thru dozens of submissions, or booking agents or directors needing you to get to the point they want your very very best images.

You think all your images are good. I can understand why you think so. Maybe they are but no one needs to see everything at once. Choose your absolute unquestionable best of the best and save the rest for your follow up. Everyone hiring or casting from a portfolio only remembers about 3, maybe 5 of your absolute top images at best. Furthermore, you have to be even more discriminating about your work than your potential target because you don't have another chance to make a first impression with them.

The first mistake is people tend to forget is that your portfolio is your resume. You have to tailor that resume to the clients that you want to attract. If you're a model and you want to do more catalog work then you show your top 15 catalog-ish images. You don't clog it up with irreverent data that detract from your skills. Therefore, NEVER EVER use any less than ideal image as a placeholder for your port online or otherwise. If you don't have 15 but only 8 high end images then show the 8. I often hear people say, "well I'm having some pro shots taken and will replace these when I get them." Or "my new camera is coming but I used my cell phone camera for now to get my photo port started." Bad move! Your creative reputation has already been tainted should that starter-port become public or get seen by anyone if it's anything less than ideal for your "weight-class" for lack of a better word. Why anyone would do that is beyond my ability to comprehend.

A portfolio says everything about you. It should say this is what I've done but more so this is the direction I want to go and this is how I'm beneficial to you. See my level of skill and how adaptable I am? I've done so many different things but my port is a perfect example of the type of artists you're looking for for your organization or project.

A resume does exactly that but with a port it must be done so in less than half of the time it takes to go thru a written resume. Just like a resume you tweak it for the job you want and for the collaborations you seek and it need not be 15 pages long no more than a good portfolio needs to be more then 15 images deep. In this business less is nearly always more. Of course there will be an exception or two where 20 might be best or even 10. But you have to understand the nature of the industry you're in and the processes of selection in place for visual fields. It's brutal and its immediate. My day tasks requires split second decisions from what can be dozens or hundreds of images. Only the absolute best stand out and when I get any group that goes beyond 15 my mind immediately goes blank after those first few pages.

Any good artist also will know that you can never have a single resume or port. You'll have maybe three or more all with slightly different things in them based on the work you want to get at that time. If you want to photograph products then your port should demonstrate photo compositions and lighting style skills needed for that industry and the evidence supports that number should be averaging around 15 images. If you can't show it 15 images then you may want to ask yourself if you're being redundant and whether or not you truly have your absolute incontestable best out front.  

Modeling and Age Discrimination

About three weeks ago I worked with a model I’d never worked with before. She is gorgeous in every way. Polite, intelligent, beautiful skin, gorgeous full and shiny hair and an amazing fit body. As long as a person is of legal age I don’t really care how old they are. If they suit the look I’m going for then I really could care less beyond getting the job done. But I was stunned by what she told me. She mentioned that in her experience many people were turned off by her age. She perfectly recalled an occasion, when a photographer she had just finished shooting with asked her age. When she told him he visibly expressed shock and immediately became dismissive and treated her horribly. I personally just don’t understand the obsessiveness with age. Clearly this model was perfect before the photographer knew her age. I was appalled and very disappointed in this photographer’s behavior. It makes the entire industry seem so very very superficial.  All we really want or really need is a competent and talented subject to meet the criteria of the task. 

I might have known that something was off when she asked the average age of the models I typically work with early in the photo shoot. She was unnaturally interested. When I mentioned all ages she was visibly but pleasantly surprised. I clearly remember saying, “I don’t have an age limit. I only have qualifications. If a person suits those qualifiers then I don’t care. If she is slightly older then all the better since statistics tend to suggests that more mature models are more reliable.” Then she told me her story. I couldn’t get over how someone calling themselves a professional could behave in such a manner. In her estimation, anyone over 30 years of age was at a horrible disadvantage. Clearly she had been shaken and somewhat discouraged by her experiences and given her talent and her looks I was simply baffled why anyone so beautiful might have developed such a distrust and negative attitude about the industry at large.

It didn’t take me long to realize she was not alone. I did a bit of research and spoke to a few colleagues and other models. While there are certainly more mature models working, many have experienced some form of push back when they revealed their age. It wasn’t because they didn’t look the look, walk the proverbial walk or that they didn’t meet all the criteria of the task - NO! It was only because of their age; a simple number that often disqualified them from further consideration.

When did we become so shallow a society to care how old or how young a person is if they perfectly suit the task at hand? In fact, I have argued that on occasion it might be more attractive to seek out a slightly more mature model because of their attention to detail, their work ethic and dedication. Paid or unpaid, collaboration or commissioned, I have never had a model over 30 years of age not show up. From a marketing perspective, any smart person would know that models in their 40s, 50s and 60s is a rapidly growing and sought after group due to the amount of products and services seeking that demographic. More specifically, the amount of quality images needed to promote products to that group is rapidly expanding. It is quite simply, a smart move to work with this rapidly expanding market. If anything, this photographer should be bowing and pleading for the pleasure. But even that is not really the argument here. The lack of common business sense is argument enough for the imbecile that has a problem with age. But what truly perturbs is the fact that this age-nazi expressed no problem whatsoever until he or she actually learned the model’s age. It’s baseless and ignorant to age discriminate for any reason short of not being able to perform the task and that can be true of any person at any age. 

This photographer, whomever they are is simply a fool. It was a tactless thing to do, a blatant lack of professionalism and it shames me to know that someone as kind and as beautiful as this model has to endure such ridicule for being who she is. 

Lucky for me I did photograph her and quite frankly I loved every second of it. She was perfectly qualified, punctual, experienced, respectful, communicable and gorgeous. What else could I possibly want? All things being equal she was perfect and I don’t care how old she is beyond being of legal age.