"TFP's" versus "Testing" for both Model and Photographer

TFP’s versus Paid Testing


TFP

“TFP” is a term that originated on the Internet. It implies that there will be NO MONEY exchanged between the model and photographer (or other artistic individuals involved) for each other’s “Time or Trade” for “Prints”. Think of it as “bartering”(a service exchanged for a service). It may be interchanged with different nicknames that basically refer to:

• Time For Prints • Trade For Portfolio

• Trade For Prints • Time For Portfolio

Sometimes you’ll see: “TFCD” or “TFP/CD.”

• Time/Trade for CD

• Time/Trade for Prints/CD


In a TFP shoot, just because no money is exchanged doesn’t mean that it’s not to be treated as an important booking. TFP is usually used by amateur photographers and/or beginning models who are building their books (portfolios) with more diverse looks or even looking to gain more experience. There are still many established professional photographers that will do a TFP shoot with an inexperienced model if they find them unique or interesting. Some experienced models even do TFP shoots with newer photographers for the same reasons.

There is always the potential that superior results can be produced. Many amateur photographers and models are only considered “amateurs” because it is not how they sustain their income to pay their bills. They can have talent (and equipment) comparable to most professionals. This can offer extra experience in front of the camera that allows the model (& photographer) to become more comfortable with different photographers, models, and future clients that need varying degrees of creativity.

For TFP’s, even though the model doesn’t get an hourly or day rate, and the photographer doesn’t get a photo-session fee, there are still benefits shared by BOTH. There may be other participants involved who are building their books, too, such as make-up, hair, and fashion stylists who are all offering their “trade for time”, too. All are doing the photo-session in hopes of getting quality images that can be used for self-promotion in their portfolios to get more jobs (hopefully paying money). Prints obtained through TFP’s may end up in the photographers Book, on their website, on the model’s Comp Card, and in the model’s portfolio. These prints have assisted models in getting callbacks from agencies, clients, and other photographers…and the same hopes that the photographer gains experience with models, gains a professional reputation that brings more models, clients, and agency referrals.

TESTING (versus TFP)

In the traditional photographic/modeling industry, TFP isn’t used as much as “Testing”. Testing involves an established photographer and a fairly inexperienced model, although not always. Tests are often “paid.” This means that the photographer (and anybody else involved like make-up artist, hair, or fashion stylist) gets a nominal fee for their time and effort, which isn’t really reflective of what they’d normally get for that level of photographic performance. A photographer who gets a high day rate might do a paid “test” for a few hours and only ask for a portion of their day rate. The model gets the right to use the pictures in her portfolio.

Some people use the word “test” to mean the same as “TFP.” They aren’t the same, however, and while models don’t pay anything for TFP work, they often pay some reasonable fee for testing with an experienced and established photographer. It is not at all unreasonable for a photographer with skill and experience to ask a model to pay some nominal fee for photographs which would otherwise cost her hundreds if not thousands of dollars, and models should be aware that some photographers will expect to be paid something for such work.

• Unlimited rights to the photographs are not likely from Testing or TFP’s. It is the law in most countries that photographs are the property of the photographer. The model may have the right to have some say in how they are used, but the photographer is the primary rights-holder. Most TFP releases provide that the model may only use the photographs for self-promotion and may not sell or relicense them. However, some models, especially models who are already under contract or hope to submit photographs to a specific user, will specify that certain uses (for example, print use of nude shots) are not allowed.

• Unlimited prints are not likely from Testing or TFP’s. Portfolio-quality prints are not cheap. The photographer should offer a reasonable quantity, perhaps based on the total number of usable images captured. If the model wants more prints than are agreed upon before the shoot begins, she should expect to pay a reasonable price for them.

• Don’t expect any money from Testing or TFP’s. That includes revenue from later sale or license of the photographs in most cases. Many photographers have a policy of giving the model some percentage of revenue from such sales or licenses, but check with the photographer what their policy is and what their agreement states. If the model is still new and inexperienced, this is not something the model usually demands.

*COMMERCIAL TFP

This leads to another topic within TFP’s which has developed in the "Internet" modeling world and has crossed over into lower-budget print modeling: "Commercial TFP." This is where a client seeks a model (or a photographer) for advertising or other commercial usage but only wants to pay in "tear sheets" and/or prints instead of compensation in money or (at least) in desirable products and services (again, similar to Bartering). For some newer models looking for a “tear sheet” to put in their portfolios as evidence that they have done print work…this offer may be tempting.

Raising some controversy, commercial usage is not an appropriate place for TFP because it can lower the industry standard of compensation which is bad for models, photographers, makeup artists, fashion stylists, and associated others because it gives other people the means to make money from their work without getting money in return. "Experience" or "exposure" are tempting offers to bait in the less experienced commercial model, but is it a good reason to do commercial work for free? You need experience and exposure to get commercial work, so what do you do? Once a model is good enough to be in commercial work, it's reasonable to require some economic benefit in exchange for the economic benefit that the model provides for the client. Trade for portfolio, trade for art, trade for an editorial tear...that’s acceptable by the industry’s standard, but “trading” for commercial advertising usage is not a trend we want to see stick around. It results in unbalanced compensation that lowers the bar for future commercial clients.

When times are tough economically and a client has no budget to pay a model for an ad, we shouldn’t blame somebody for trying to get the best deal they can for themselves, but the industry needs to keep some sort of equal balance in compensation.

When a model does a TFP shoot there are definitely things that the model should receive:

• A signed release: This specifies what the model is to receive as her compensation in the form of prints or digital images. This protects both the photographer and the model by making their rights and obligations clear to each other.

• A “professional attitude” received from the photographer. There’s no excuse for not treating the model as a valuable contributor, so the model needs to be professional, too.

• Work that is a reasonable approximation of the photographer’s talent and expertise. TFP is not “second-class” photography and it should be of good quality.

Probably the most common complaint about beginning models doing TFP is that they are unreliable and sometimes don’t show up for scheduled shoots. The usual reply to a complaint of this sort is that since the model’s not getting paid, she doesn’t have a real obligation to the photographer. This is, bluntly, wrong. The photographer has committed to the shoot. If they did not believe that they were going to have a shoot with that model at that time, they could have scheduled something else. A no-show model represents time and opportunity wasted, and both of those have a very real monetary value. Models with reputations for dependability get callbacks and referrals: models who don’t, don’t. The world of photography is surprisingly close-knit and it doesn’t take long at all for word to get around.

*Nudity Topic (see my other blog To Be or Not To Be Nude for more on this topic)

It is also important for the model to understand what will be expected of her at a shoot. This should be agreed to ahead of time and both photographer and model should honor the agreement. If the photographer specifies “figure studies,” expect to be asked to remove your clothes. If you told the photographer “no nude shots,” and they press you to undress, leave. If the session is going well and you are both comfortable with each other, you may jointly decide to do a lingerie shot, or an implied nude, or whatever you are both willing to do…that’s a decision between over age 18 adults. There’s no harm in either party asking politely, once, and you shouldn’t be offended so long as the inquiry is polite. If it’s not polite, or if the photographer won’t drop the subject after you’ve made your limits clear, you should end the photo session.

*The security of the model (& yes, the photographer, too) will be discussed in a later blog.

Search Amazon.com for internet safety

Work Now as a Promotional Model

LIVE PROMOTIONAL MODELING (a.k.a. Promotional modeling)...so many different opportunities are out there for everyone of all ages to earn money.  In this economic time of people being without jobs or needing extra money...this may be helpful.  No matter what place, product, service, or person you may "promote" during this job...it can change from day-to-day, so people that are not shy tend to do well in these types of bookings. 



“Live” Promotional Modeling is a term used just to distinguish it from a model that’s being hired to be photographed to specifically appear only in print form. Although a model in print can be “promoting” something, they are not referred to as promotional models by the industry. A “live” promotional model means “in-person”. In person (not print), a promotional model “PROMOTES” something sometimes like we see face-to-face in salespeople with their expressions, personality in communication, personal presentation of themselves and product, etc.

These models are rarely employees of the promoted service or company they are hired to represent. They are hired specifically for an event that may last just a few hours, a full day, a few days or even an extended length of time. A promotional model can appear on location at a huge variety of locations to promote an event, person, product, or service. The bookings may start very early in the morning, during the afternoon, or evening hours and the types of models used are as diverse as the actual jobs. They may work at conventions, malls, bars, or on location at retailers, etc. (There sometimes are age restrictions if promoting tobacco, alcohol, or any adult content event.) Sometimes they are spokespeople with specific things to mention, sometimes they just smile and hand out samples, or sometimes they must even wear costumes! The type of model that can be hired as a promotional model depends on the client’s diverse needs (just like any other model), but the strict images of “looking like a model” may be considered more flexible or not even necessary. Their look need not really “look like” a model, unless it’s a specific client’s request for that image (ex. Model in bikini at bar attracting attention for promoting an alcohol brand), but in general the promotional model is attractive, well groomed, approachable, and friendly. Think of your nicest and sincerest smiles, using your best posture, looking at people in their eyes, shaking hands when appropriate, overcoming shyness or tendencies to have an overpowering, dominant attitude, etc. There’s a fine line between confidence and just too much “confidence-talk” that sounds cocky. That can be annoying and not give the right impression to people. Being a promotional model is all about the way you make the connection to people and how they perceive you as you “promote” the product or service.

Promotional modeling jobs are more plentiful to find and book than the other types of commercial and fashion print and runway modeling jobs. BUT they are often not the sought after jobs by models. Maybe the jobs are not what the model sees themselves wanting to do or maybe there’s any other excuse. It’s a paying job, so maybe the model should be weighing the disadvantages versus the benefits to their circumstances if they need money to re-invest in their career.

Even though the prestige may not compare to some contracts that models strive to get…promotional modeling is often a sure way to earn a consistent flow of money versus some other more competitive types of modeling. Sometimes actors will share these jobs with models. The concept of being a promotional model is not considered glamorous by many models, so the work can be overlooked by many thus leaving availability for paying work to other more eager models. They are willing to work at any job that can help them financially continue their journey in the modeling industry.

It takes time and money to keep a modeling career afloat long enough to help develop their career, so if promotional jobs can help earn some money, build and increase interpersonal skills, and increase their networking capabilities…what’s so unworthy of a model’s time than any other commercial or fashion job? Tons of commercial and fashion jobs aren’t all that glamorous, either, so get used to making the best out of a situation.

Don’t give in to the stereotype that some in the modeling industry debate about whether or not “promotional models” are even models at all. That’s just a matter of someone forgetting the definition of what a model REALLY is and the numerous ways that they provide a service of promoting a product or service, etc. Fashion and commercial print is NOT the only modality of making money as a model, so models that work just as hard doing long hours under some diverse conditions like in promotional modeling should have much more respect. Okay, maybe less glamorous than what they envision, but models need experience in adapting to different modeling situations, dressing themselves appropriately to suit different clients, communicating with fickle consumers, facing rejection, doing their own make-up, building endurance for being uncomfortable for hours, etc…it’s not just about having a one dimensional “smile” that will impress every client…because it won’t!

Every model needs to adapt to their situation and give their client their best abilities. Clients expect it…even if they are not paying the model very much money. Speaking about money and promotional modeling, the model can earn about $15.00-$30.00 an hour or a rate for a day’s work of about $100.00 -$300.00. Compared to the other occupations in society requiring degrees, specialized training, and a large investment of money for college versus working for minimum wage… $15-$30 isn’t anything to turn your back on if you want money without having a heck of a lot of other professional skills. Quite honestly, at each and every job the model should make the most out of the booking (and client) and add it to their modeling resume as an experience that helped make them a better model. Use the money you make wisely, and keep evaluating your career to what is your next step.

If you don’t like being a promotional model, but you’re having no advancement in any other type of modeling, then you need to get some things in check. Clearly evaluate what area of the country that you live in and be realistic to the kinds of clients that are hiring models in your area. If you are in the right area of the country that has the work you want and you really feel you meet the requirements of the specialized model that you want to be…you’ll need multiple professional opinions about what steps you can take to get closer to your goal. For instance, if your height is over 5’9”, and agencies say your look is “commercial”, but you desire “fashion editorial”…simply ask if they think you could change your hair, lose weight, re-shoot more pictures, etc. and have any chance of looking editorial.

Now, considering that you are young enough to still be considered editorial is a slim timeline. Promotional models are usually no younger than 18 except for “teen” opportunities that may require less interaction (ex. mannequin models in store windows for store promotion, teens handing out sale flyers or coupons, etc). And, if you’re over 21…that’s very late to start an editorial-fashion career. At this point, before you make any drastic changes in your hair, body, or location that you live…have you considered enhancing your commercial look in your portfolio to get more jobs? This is what I mean by getting some things in check.

Don’t waste too much time at each part of your career fighting who you truly are as a model. Make the most out of your look and personality to make the most money and advance your career. A good agent will guide you to how to optimize your look because it will help make THEM more money by booking you. Most modeling agencies across the country (with the exceptions of the larger city markets) will book promotional jobs as a full-service modeling agency. Now, if the promotional jobs are coming in and you get asked by your agent if you are available to work and you keep saying no…don’t think that helps you stay on their good side. They’ll know that they are being blown off and if they can’t book the models…the agency will lose potential money from that booking. That’s not good when it interferes with the business aspect of the agency. They’ll be less likely to think of you as dependable and professional and may pass you over when pulling models in for other bookings that you would have liked! Ah…politics are everywhere!

Only my opinion, but you could do 20 paying promotional jobs while you wait for that one print opportunity that pays money. No matter how much you may have not felt like a glamorous model doing those jobs, they are NOT posted in your portfolio for all to see, nor does everyone need to know about them publically if you don’t share that info (except for potential income taxes). Other clients may never even know that you’ve earned any money dressed up in a costume or handing out brochures…that doesn’t go into your portfolio as a print model! It’s funny to think of some of the things models have had to do while developing their careers, and some of the photo shoots may have been just as testing as wearing a costume depending on the concept of the ad, so hang in there!

Again, promotional models earn money and gain interpersonal, professional experience, so if a model does need extra cash…it’s not the worst way to earn money. Some promotional jobs are actually very fun and you can meet a lot of very interesting people. Like life, a model’s job is what they make out of it! Don’t complain to the wrong people, either…not professional. If at all possible, find a way to work out any confusion before fingers point to everything being your fault because unfortunately many occasions are blamed on the model even when it’s not.

If the model gets the promotional job through a modeling agency there will be the agency’s commission deducted from that rate just like any other type of modeling. Some opportunities are posted on the Internet or posted in some newspapers, too, for unrepresented models. (There are many promotional modeling jobs out there.) Some independent models who work without an agency may be able to find direct bookings with certain clients and earn the rates stated without paying any commission. There are pros and cons to being an independent model, so research any opportunity to ensure it is valid, safe, and reputable. Make sure it’s clear and established in writing as proof that you’ve worked and get a realistic idea of how long it will take to get paid. Even models in an agency must wait for the client to send the money to their agencies and that can often take many weeks.

An independent model must do a lot of the extra work in getting necessary information and handling payments that the agency usually takes care of…that’s another reason agencies get commissions. It’s not just about getting you a booking, but it’s also a way to have someone act on your behalf to complete the booking and GET PAID! That’s why an independent model must learn quickly to manage their careers as a promotional model because the more they work…the more responsibilities they have. All models should be better organized not only in their bookings for jobs, but in their financial bookkeeping affairs. If it’s too complicated for the model to undertake then hiring someone to help will be necessary. When first starting out as a model, though, become familiar with what a model can claim on taxes as expenses and the rules that apply.

Are PARTS your specialty?

Specialty Print Modeling (a.k.a. Parts)




In commercial advertising (and artistic photography), sometimes you will not see the entire model in full body view, but rather, just isolated parts such as beautiful hands, feet, legs, back, neck, shoulders, etc. These models must treat their specialized parts with care to maintain a “ready-to-work” state. For example, beautiful hands and feet need to be well groomed with frequent manicures and pedicures including proper moisturizing so that they stay consistently groomed. These models know that their specialized parts are their way to make money, so they invest the extra effort into their livelihood.

The body part that is modeled should be well toned and defined with great skin, but without markings such as tattoos, piercings, fake nails, sunburned skin, dark tans, scars, acne, cellulite, varicose veins, or excessive hair. The model can’t just expect expensive and timely photo retouching for their imperfections to be modified. Genetics can only go so far before a model’s flaws are truly discovered, so it’s best to stay realistic and make the most out of what their body is. Certain procedures for attaining the best physique can help, but some may certainly make things worse, so leave it to the professionals to tell you your options for skincare, hair removal, personal grooming, etc.

In the major modeling markets such as NYC there are specialized agencies for “Parts” modeling. In smaller and secondary modeling markets there may not be such a specialty division, so a full-service modeling agency will use its commercial models that represent the finest example of the best needed body part required for the booking. In the larger markets, the specialized agencies will deal with “television commercial” bookings, as well as print bookings, because there is a large demand for both.

We mentioned that proper maintenance is required to keep body parts smooth and healthy in appearance, but the model must have the commercially desired shapes and lengths of the showcased body parts to maximize its’ photogenic quality in print (& television). For example, long fingers and toes photograph well. Some feet models have had an average shoe size of 6 to size 8…and that’s not a typical shoe size of a model that’s 5’10”, so there is availability for all different types of models to work if they find their niche.

Now, the next step after a model discovers that they have the ideal parts for photography is the ability to know what to do with those parts in front of a camera and while promoting a product. The model needs to use the correct poses that include the advertised product naturally into the photograph. The same principle applies to other body parts such as legs, arms, and the back regarding posing and portraying the advertised product. The key is to make it “look” natural even though the pose may feel exaggerated or awkward.

In specialty parts posing, the story is told by a much smaller area of the body where a model may not be able to rely upon using their eyes and facial expressions, for instance, to show the mood. Subtle movements and changes of little angles can alter whether the body looks natural or oddly distorted. Distortion is something that looks like something is smaller, larger, wider, narrower, or even misshaped. The photographer controls a great deal of how a part will look with the angle of their camera, but the model must be aware of the camera placement and keep in mind what the photographer may be seeing versus what they really want you to do.

For instance, here’s a little exercise to try. Think about the moment that the camera catches your pose of perhaps your hand. Place and pose your hand in front of you. Look at your hand’s pose and position. Pretend that your eyes are the camera and place your hand ABOVE your eye level and carefully adjust the angle a little bit at a time to see how the shape of your hand in enhanced or distorted. If you are able to actually use a digital camera on your own, you’ll notice that some poses are more flattering than others. Now, bring your hand down to “eye level” and “lower” to observe how those same flattering poses from above are not as flattering when the camera is from below or at a different angle. The lesson to this exercise is to just observe that EVERY angle of your body will appear different in a photographic pose dependent upon WHERE the angle of the camera is. If the model practices and becomes aware of their body’s angle and the product placement, the technical aspect should become second nature and the positions can flow during a photo-shoot so that any angle can be optimized with the assistance of the photographer.

A photographer may note to the model how they are seeing the body part’s pose and offer suggestions, but it’s helpful and more professional if you don’t need to be constantly reminded and told what to and not to do. The model learns that it’s a combination of posing, angle of camera, and the lighting that places shadows or reflects light in all the right or wrong places. That takes some time, but the model that can learn those tricks can make the most of their ability to be a specialty model. (The same concept is similar for whole body poses, too, but on a grander scale.)

To Be or Not To Be Nude...as a model

SENSUAL MODELING AND NUDE PRINTWORK

To Be or Not To Be Nude...as a model, it's personal choice. 


Returning to the concept of the gray scale line between all the different types of print modeling ranging from high fashion editorials in magazines all the way to photographic art hanging on display at an art gallery or book store…photographic prints of models play a large role in our society. Most people don’t even realize how frequently that they see models in print all over the place…everywhere! The challenge comes in figuring out where you belong in the modeling industry or even if print modeling and posing in front of a camera is really for you.

We’ve discussed the prerequisites for being considered a high-fashion editorial model and how it is a very high standard of height, weight, and unique characteristics. The opportunities are elite regarding the “prestige” ranking associated with editorial fashion, but since the opportunities are rare to achieve such a successful status as a high-fashion model, that leaves many talented models with all of the other opportunities that span the commercial and artistic modeling world, too. That is a broad area with its’ many specialties and divisions that have a set of unique requirements, too.

In modeling there is always a question that most parents will ask and it’s regarding whether or not their “legally-adult” child will be expected to pose nude. Under age 18, nudity is not the question because that is illegal, but the gray line comes back whether their teenager will be made to look more provocative or wear garments that may be considered revealing and imply nudity. That’s not a simple question when a person is in a chosen industry to model. Different people have religious beliefs or morals that would strongly oppose any nudity, while some individuals are just modest. In general, the modeling industry isn’t known for its’ compassion regarding the model’s feelings, so the nudity issue needs to be addressed.

A very important assumption regarding artistic modeling, as well as high-fashion and some commercial modeling, is that a model should be aware that the nudity probability is very high. If you have an artistic modeling assignment or an offer by a photographer, you should clarify what extent of artistic modeling is required (no nudity, partial nudity, full nudity, etc.). The model has some decisions to make regarding being photographed nude because that’s a lifelong commitment that isn’t easily erased away like getting a small tattoo. The model should think about whether they are comfortable with their body and if being photographed in the nude is open for discussion with their modeling agency. This part of the topic is not about posing for a pornography magazine, but rather the associated bookings that enter a modeling agency in regard to fashion, commercial, and art. The agency needs to know this information and to what extent of nudity you will allow, but they know that you may lose some jobs, too, by being limited. There’s really no way to convince a model who has strong feelings about NOT posing nude that there may be times others in the industry will not understand or be empathetic, so the model does have limitations in their eyes.

Another important discussion is with family because there are both positive and negative consequences of modeling nude and how it can affect your career in the future if the type of nudity is considered pornographic versus artistic. Artistic nude modeling versus pornographic modeling is just one BIG difference in making the decision that can alter a model’s “commercial” career, too. Some commercial clients may not approve, some may never know, while others may not care. There are some commercial clients that actually need models that are comfortable with partial of full nudity, so whether or not the model chooses to bare all is mostly a personal decision, of course.

The consideration to “bare all” is part of the modeling industry and is also shared with the broad possibilities on the Internet and in the specialized pornographic magazines. There are some nude models where that is all they do as a specialty is pose nude for websites and magazines, but it is not considered prestigious work just because they are in a magazine. Of course, among their network of marketing, there are some standards of higher quality versus lower quality opportunities even for pornographic print.

The Internet and magazines have their own status of what is considered acceptable and of “good taste”. A model’s personal website and other pay-sites are a prime example of whether the model is featured artistically or more provocatively graphic and may even be considered lewd. Some photos may come back and haunt a model for any variety of reasons that expands beyond the model losing a perspective, conservative, commercial client especially if someone does a search of you or your alias (a.k.a. name) on the Internet.

Some societies, especially in Europe, are more comfortable with nudity, so the opportunities a model finds when they travel and work internationally are endless. Once again, it’s the model’s choice and the model’s consequences if not handled with an artistic edge. A model should not want to have too many “regrets” as they mature in their lives, but because everyone’s standards and morals are so different it is more about doing whatever works for you and makes you appreciate your experiences.

Another note for discussion that is related to your comfort level and morals is regarding your sexuality and posing provocatively. Just as nudity issues arise from time to time, so does sensual interaction with other male, female or both types of models whether or not you’re gay or straight. Sensual moments that cause extreme discomfort for a model at a photo-shoot can affect a model’s ability to get the job done professionally. That is where a model must use an acting ability to outwardly set the tone the photographer needs to work and even help other models feel more comfortable. It is a group effort, but once again, if the thought of the experience is so unbearable, then your agency must be aware of that, too, as another limitation.

When the model does agree to be photographed nude there is usually some degree of privacy where just a photographer and only required professionals will be allowed on set. This can be confirmed by the model as well as staying covered up during any down time on the set. This should be respectfully done and honored by all involved to maintain the model’s privacy. Just because a model will appear in a nude or partially nude photograph, it is not an open invitation for a “live peep show” or to degrade another human being who may be feeling vulnerable emotionally or physically. Even the most beautiful nude model may have hidden fears of imperfection that they are counting on being photographically altered with lighting or re-touched afterwards. Emotionally speaking, the model may be a little (or a lot) nervous and they need to trust the situation and let the photographer do their job while the model does their required job. No distractions.

There is a safety and security issue that should be addressed regarding this type of modeling assignment (as well as can be used as a guideline for all types of modeling). You should learn when it’s appropriate to have someone accompany you to ANY photo-shoot versus developing a plan ahead of time letting people know where you are or checking in via cell phone, text, etc. just to confirm all is well. In general, if your booking or photographer is booked through a modeling agency for you…no one should go, unless you are under 18 and the agency clarifies the parent’s role (if any) for chaperoning. A somewhat exception to the case of having no one accompanying you is in the case of Internet Modeling jobs where we’ll discuss what’s accepted and certain other safety issues. You may wonder why a model shouldn’t take someone with them to a photo-shoot. That’s a good question and the modeling industry has its own reasons that we’ll discuss in another Safety Issues topic.

To Stock or not to Stock

STOCK PHOTOGRAPHY PRINT WORK


Stock photography print is a collection of a variety of generic photographs that photographers take with “no known usage” or “client”, yet, but it may be sold (or not) at any time in the future. For instance, a photographer may hire a model and have her wear a business suit and take pictures of her pretending to be using a computer. He pays her usually a flat rate fee that covers the job and she signs away any financial rights to her image in that photograph. The photographer then has those pictures obtained from that photo-shoot and adds them to his “stock pile” of photos. He may sell that stock photograph to perhaps a client who is looking for a more affordable option than booking their own model, photographer, etc., but the odds for many photographers are that they don’t sell all of their stock (sometimes even very little).

If and when the photographer sells from their stock photography, they don’t always know the intentions of how, where, and when it will be commercially used. The model will be aware that they are being booked for stock photography, so they should be aware of the pros and cons just in case no one informs them about why they should use caution in accepting this type of modeling booking during their career.

There is some controversy about whether or not agencies even accept “stock” photography modeling assignments for their models because some of the “cons” that outweigh the financial gain of the agency and model. It’s really not that much of a gain “financially”; more or less $50, $75, $100, maybe $200. A model agency averages 15-20% of that rate, so to some agencies that are very busy and aware of some potential conflicts, they may make the decision not to choose nor handle those bookings for their models.

Models want to work and are always looking for photographic print opportunities especially if they are neither not very busy working as a model nor building their book with their print experiences from either fashion editorial or commercial work. Consideration should be taken when a model has a potentially promising career ahead of them because not only does the model have to sign a photographic usage release for the stock photos initially, but that model has no idea IF, WHEN, and HOW that print will be used when sold and that model gives up any residual gain of money, too, from that opportunity. The argument and hypothetical situation that agencies and models fear is that the stock photo gets used by a client that is a direct conflict of interest for a larger paying job or campaign in a model’s future booking.

For example, the photographer sells the model’s stock photo that they were paid $150 for to a local bank (that uses the image for their brochure ad and website’s homepage). A few months later, that same model is selected by a large advertising agency for a big named national bank’s campaign that is a huge commercial print opportunity including being on billboards that pays a huge sum of money. That becomes a direct conflict of interest that their face and image is associated with another bank, so kiss the big, national opportunity and money good-bye.

It’s a gamble when accepting the stock photo assignment, but when a model wants experience, print work, and a “paying” job…the stock photo booking may be tempting especially when you need the money to reinvest into your career or to help pay your bills. A lot of photographers make money selling stock photography, but there are many, many stock prints that will never be sold. Let me repeat that point, there are many, many, stock prints that are never sold to anyone, anywhere, nor ever used again. That’s part of the gamble for the photographer and model. Some of the good points in favor of a model accepting a stock photography assignment may potentially outweigh the risk of the worst case scenario (regarding booking a similar client) ever even happening. There are some fine things that a model can take away from a stock assignment especially if they are new models who need commercial prints to help “market” themselves in their portfolios, on their comp cards, working with different photographers, etc. Models increase the likelihood of getting future commercial bookings when clients see their commercial pictures. Keep in mind that not everyone can just look at a model without any pictures and visualize their potential as a model without seeing proof of how photogenic they are, how well they show the product, how well they pose, how well they fit into character of their product, etc. That is one of the big purposes of a model having a portfolio because clients, photographers, and agents use the model’s portfolio as such an important reference.

It was mentioned earlier that models can end up paying photographers for testing when the model is the one who needs certain types of pictures to market themselves, even in all parts of the country located near or far away from the primary fashion modeling areas and secondary modeling markets. Photographers always seem to be able to find people who want to be models and actors, so there’s a lot of competition out there even for stock photography. Many modeling agencies will give the model the option and help them decide whether or not it may be right for them in their specific situation. The modeling agency generally knows the type of clients that they’ll get and the types of models that they represent, so their guidance may help the model with their final decision. Remember, the modeling agency doesn’t get a lot of money from such a smaller paying booking, so it may not be worth their time to set up and follow through with stock print jobs versus taking the risk of any future conflicts of interest between clients and models.

Print models always need to update their books, work with a variety of different photographers, and always stay ready to work (movement & posing) in front of a camera. Ideally, the model gets paid for working in front of a camera, but this may be an expense that the models takes care of when the right work isn’t there to compensate them or they need updated pictures or practice in front of the camera. In the different types of modeling, there are different posing techniques and variations that are not just “natural” to non-models, so the styles vary when the model is photographed for commercial fashion versus editorial fashion versus commercial advertising. Stock photography is thought of as commercial work (even though it may not likely have any intended usage unless used in the future, so, until stock is sold it’s not officially commercial yet), so the poses are commercial, not a fashion editorial. Models need to be versatile. The more adaptable that they are in their looks and posing will only enhance their opportunities to be photographed for a multitude of clients.

So, yes, posing for stock photography does have its drawbacks for a busy, commercial model who has a variety of clients already, but the right stock photographic prints may benefit the newer model in the future and save them some money, too. Ultimately, the decision is a model’s preference in their career whether or not to try artistic modeling and stock photography, but Testing with different photographers is a “MUST” for print models. Getting in front of a camera is always beneficial especially to newer models that may feel awkward or inexperienced, so often it is a modeling agency that recommends either way for the model to get more experience and pictures. For” newer” or “experienced” models without representation, hopefully they will make the best use out of their “independent model” status and research the opportunities in their area.

To learn more about Stock Photography, so that you may see examples  Search Amazon.com for stock photography

Learn the basics of all of the different styles of posing...Search Amazon.com for posing techniques

Some Samples:

TESTING & NON-COMMERCIAL PRINTS...Know the intended usage of your prints

NON-Commercial PRINTS, "TESTING", & some “Artistic” Print Modeling


Some types of photographic print modeling can easily be labeled as high fashion editorial print, commercial print, commercial fashion print, or even just “editorial” print if relating to an editorial in a non-fashion newspaper or magazine.

There is another type of modeling that is neither editorial nor commercial. For the purpose of understanding the most common difference in types of modeling you should think about the big picture of whether or not the “usage” of the print photograph will be for marketing a specific product or service (a.k.a. commercial modeling) or if the usage of the print is for telling a story in a magazine or newspaper (a.k.a. editorial). If the usage is neither then the chances are that the type of modeling could be considered either “testing” or “artistic”.

A model may or may not be compensated with money for their time as an artistic model. There are also artist’s models who pose for drawings, paintings, sculptures, and some other artistic mediums that are not “photographed” to be shown in its’ print form. Fine Art print photography of a human model doesn’t pay very well and the pay rate is not dependent upon their experience. There are “commercial” artists, who may draw models for advertising, but models in Fine Art tend to market themselves and they are not necessarily booked through a modeling agency.

TESTING:

Testing is a term with a few meanings that can be used throughout the modeling industry to describe a photographic session where a model uses pictures obtained by the photographer for their own promotion in their portfolio and composite card. Testing may be recommended by the modeling agency to specific photographers that they prefer to work with. In this type of “testing” the model usually pays the “test photographer” for their service. Whether or not the money is paid up front by the model or the modeling agency depends upon a variety of factors. What is the policy of when their new models need testing? This is a question that may only be answered by each individual agency. The location of the modeling agency, how many models they represent, the types of clients and models that they use, and some other financial policies are all factors in whether the agency will pre-pay for a model’s testing. Learn this lesson, now, that only a very, very small amount of modeling agencies are willing to use their own money when paying for a model’s testing. They need to be absolutely confident that the model will work for them, be a strong earner of money/prestige for the agency, and they will deduct the testing fees later from the model’s first paycheck. The money for testing is ultimately paid for by the model sooner or later.

Some good news is that there are times when a photographer hires a model for their own testing. Sometimes they may “test” to either experiment with new equipment or photographic techniques. The photographer may even just want to test a new model or experiment with their own artistic freedom without working for a paying client. Depending on the experience and financial situation of the photographer, a model may or may not be compensated with any money, but maybe just prints for their portfolio. This type of testing may be referred to as TFPs (a.k.a. Time for Prints, Testing for Prints) or TFCD (a.k.a. Time for “picture” CD). Many of these opportunities are found on the Internet and we’ll discuss those opportunities in greater detail later.

Most likely, though, the model is the one paying the test photographer, so the model must ensure that they are investing their money properly and wisely for their services when they are required to pay. Not all “testing” photographers are reputable nor worthy of a new model’s money. There is an investment of money in a model’s career, especially in the early stages, so the investment should be a worthy one where the photographs will qualify by the industry’s standards and get the model hired to their appropriate type of work suited for the model in the market area that they will work. It’s one thing for a new photographer to need their own experience with working with models to negotiate the terms where maybe the model pays for some of the prints, but paying hundreds of dollars for a service from a photographer who may not necessarily provide the appropriately needed kinds of photography a model really needs in their book is a costly mistake on the model’s behalf. Not all photos are the correct quality and type of print that may be needed for a particular model. For example, a commercial-type model really has no use for editorial-style photographs in their portfolio when they are not an editorial fashion model. The photos may impress the model, their friends, and even that photographer, but it won’t get them hired commercially at their agency. Not all models are high fashion models. Not all models are catalogue models. Models must remember that there are so many people who want to be models and the industry has its’ scammers and less scrupulous individuals who just want your money or really are just clueless to what the modeling industry is looking for. They are the type of people who are like salespeople and just say what they think a model wants to hear just so they can get their money or to just meet and be around many young models (even when they know they’ll probably never get the kind of work the new model desires (ex. Victoria Secret caliber).

So, testing is very important for a new model that wants to be hired for photographic work, and it’s important to test regularly to keep portfolios updated especially with multiple photographers, but guidance or research is necessary if a model isn’t as experienced with what they need in their portfolio or on their comp card to be hired. A picture may appear great to the model and their family, but it will perhaps be critiqued more objectively by the modeling industry. Granted, many pictures are subject to different opinions even within the modeling industry, but let the professionals be the guide. This is where the modeling agency is the “model’s guide” provided that the modeling agency is reputable and not solely affiliated with just one photographer where they both make money on new models (a.k.a. kickbacks).

Photographers are artists, but they need to make money, too. That’s the business. It’s the decision that they choose about how they make their money that can lead to crossing the fine line regarding what is ethically in the best interest of the model. Ideally, the photographer and modeling agency get a large portion of their income from “clients” who use the models and pay them…not money from the models. Unless there is a really great explanation of why a full-time photographer affiliated with a modeling agency has few clients in their portfolio the model should beware. Where are they making their money from? Is their income from fees and photo sessions from models only? (Hope they can help you make money, too.)

Legitimately, there can be a collaboration of people with different artistic skills that may be looking for print work for their own portfolios, too, (ex. Stylists, Designers, Make-up Artists, Hair Professionals, etc.) to show other clients their range of work especially if they are new or have been limited to the types of jobs that they have been getting. For example, a landscape photographer may be looking to make some extra money, so they know that taking on some commercial work or selling some stock photography using models may be the answer. They may not enjoy that commercial side of another specialty as much as other types of photography, but they may need the work and pictures to make additional money. To get more commercial clients they know that they should have a portfolio to show that they are capable of photographing/styling for commercial clients. So, their collections of Fine Art landscape, wedding photography, fashion photography, etc. may not market their range of talent, but they can add new photographic styles to their book. When they are trying to build a specialized book that shows that they can photograph “commercial” work , too, they may hire or use a model just for their own book’s usage to market themselves, not to sell any specific product, nor be used for any fashion or story editorial. So, the model’s work for this kind of booking is not 100% commercial print because it’s not promoting any other product or service except the photographers’, designers’, stylists’, etc. own portfolio (and possibly the model’s book, too).

TECHNICALLY, one could say that if the model is photographed for the purposes of promoting the services of another (even within their own profession) then it IS a form of “commercial print”. If the intentions are for the photographer to make money in the future off of a model’s participation in testing resulting in prints for their book then it is like a “commercial” booking. Confused? Some unethical photographers may also not see it that way in regards to how they compensate some models versus taking their money for a model’s testing, but that is cleared up quickly when the model signs the photographer’s photographic release form. That’s why a model and agency should know the intended usage of the prints before signing any photographic release.

Most professional photographers are very clear and consistent about the usage of the photographs that are agreed upon as being used simply for their testing purposes where both photographer and model are working together for that sole purpose. It gets more complicated of course when both don’t communicate or misunderstand the terms of usage. The photographer assumes that the prints from their shared testing experience with the model will be used for the “model’s promotional purposes” only in her portfolio, on a composite card, personal model’s website, modeling agency’s website or book, etc. The complication arises when the model uses one or more of their photographs in a commercial way that benefits someone else that is not part of the normal model’s promotion without the written permission or even knowledge of the photographer. Photographers know their rights legally, so learn the laws that effect models. Models may pay for the service of being photographed, as well as the finished product of the print to place in their portfolio, or even may get them “free” in exchange for their service with the photographer, but the models do not own the rights to reproduce (make copies) or use in any other way that is not part of their promotion as a model without permission of the photographer. It is considered to be the property of the photographer. Some photographers will supply a letter with their signature that allows them to make copies at a photo shop as needed for distribution, but other photographers want to be the only ones responsible for copies, therefore getting re-paid again. That is part of their business reputation and livelihood, so you’ll learn which photographers are the easier ones to work with professionally. Each photographer may have different model releases, so make sure you clearly understand what you can do with your copy of their work. They should be able to tell you what their procedure is regarding your self-promotional tools and making copies, if necessary, of their work. Copyrights of photographers may appear on individual prints to identify their work, so be aware of illegal usage and the making of copies.

If you are interested in learning more about Fine Art Photography to see if you'd like to do this type of modeling...check out Amazon's list if MANY books that could help you relate to what the photographer wants to see from you:  Search Amazon.com for fine art photography

To assist your posing for TESTING for your own portfolio, you can check out the "type" of look that you are striving to display in the correct type of magazine that matches the style...commercial? editorial? beauty ad?  sporty? etc....Again, help yourself to the info that is out there for FREE or even an affordable, smart investment of a "picture book", magazine, or a text book about specific topics regarding your type of modeling.

Commercial Modeling

Commercial Modeling


When you think or hear of the word “commercial” in regards to the modeling industry, there are a few variations of the meaning, but in the most practical form regarding “print” photography think of the word “promote”.  The model’s job is to be photographed “promoting” a product or service in a print ad (for example… in magazines, brochures, newspapers, catalogues, etc.). There are numerous opportunities for COMMERCIAL PRINT MODELS that exist all over the United States and internationally. The ad may range from the smallest business promoting its’ livelihood all the way to large corporations who can afford their own advertising agencies to handle marketing campaigns.

Commercial Print Modeling is very different from Editorial Print Modeling. Remember that an “editorial” is a magazine fashion “story” of the trend that is happening at that particular moment, not a specific advertisement for any one company, even though you will see multiple credits cited in small print of the stores and designers of the featured garments and accessories. Some ads that you may see in magazines may be elaborately spread out and photographed in an “editorial-style”, but it is ultimately a “commercial” ad if it is promoting one company name. It makes a nifty, high fashion looking ad, though, because that is the style ad that they are marketing to their specific consumers.

Usually, though, the editorial model and their style of modeling don’t represent the particular looks that can be marketed to a large group of average, “every-day” consumers (a.k.a. the people who buy). Consumers buy from ads that they can relate to or strive to achieve. This is where a commercial model may have a wonderful chance of success because their image is a part of the marketing process that sells to the consumer. They represent a highly approachable and marketable look. So, for whatever product they are promoting their look can vary dependent upon what product or service is being advertised to the consumer. That means the door is open to many different types and sizes of models. Take note, that there are actually some editorial fashion models that are able to cross over from editorial modeling into the diverse commercial advertising side. That’s so ideal for a career model who wants longevity. The commercial model doesn’t usually have just one look even though there may be one special look that gets them hired over and over.

This is where the terminology variations form and can cause confusion to whether a model is considered an editorial-type or commercial-type of model. Remember the prestige title? It’s placed on editorial models, but there is something wonderful to be said for being a successful working commercial model, too. “Commercial” is a term that the general public thinks of as ads that they see on television or hear on the radio. The terminology used by an advertising agency versus a modeling agency when referring to “commercial” has different degrees of meanings, too, depending on how they interpret the booking.



Being in a television commercial is one type of opportunity that can use commercial models, but it’s “NOT” why they are called commercial models. For the purposes of a commercial type of model, the doors are open for almost anyone who has the skills of being either photogenic for photographs or having the right personality and approachable looks for promoting a product. The range of model can vary from being very outwardly attractive all the way to people who possess a great “character” face and /or personality (a.k.a. character model). Fashion does have its place for commercial models (a.k.a. commercial fashion models) by selling the garments or accessories that are being advertised in catalogues, showrooms, and certain ads in magazines (not the editorial stories).

The context of explaining where the “commercial model” terms are used may vary depending on whom is referring to the booking… an Advertising Agency, a Commercial Modeling Agency, or a “specialized” Editorial Fashion Agency. Advertising Agencies (a.k.a. Ad Agencies) are hired on behalf of a company who wants their product or service promoted. Ad agencies will overall take charge of how the product or service will be promoted and will usually take care of hiring all of the personnel needed to complete the job such as photographers and models, too. If the campaign is something to promote a “fashion” product, then the “ad” agency refers to this as a “fashion” job. This is where the slight confusion of terms is just a technicality. An “Editorial “ modeling agency does not refer to such “fashion” work as “editorial” and will likely view the ad as commercial. So, here you have the advertising agency’s viewpoint booking a “fashion model”, but perhaps the modeling agency refers to what the ad agency is booking in terms of a commercial model. Ultimately, someone is used, so congrats to whatever type of model gets the job. Commercial Fashion Print bookings for models represent a lot of work around the world, too, as well as the high fashion modeling. The demand for catalog models varies from city to city just as the prestige of work does.

Even though “Prestige” is usually a term that is used for the editorial model bookings, there is a rare level of “exception” for the commercial models who are working for the “big” clients in fashion, too. Upscale catalogues, beauty clients, fashion clients, and department stores using the “combination” fashion and commercial models for their print work offer opportunities, too, that is different from the fashion editorial stories. It’s all about high-end advertising! There are some rare, “dual-type” models that can be in possibly the same types of magazines for their “commercial” fashion ad that their “editorial” fashion story would be in. These companies want to showcase their product and company name with a great deal of effective, up-scale representation, so the bottom line is “investing” in their ability to make money. Booking models is an investment of their money that they pay the ad agency (or modeling agency) directly, so the ability to have the right model representing the company’s “look” to their market that they are trying to reach is essential. The “prestige” in a commercial fashion print opportunity is usually associated with either the upscale client, usage of photographs, or the amount of money paid to the commercial model.

Commercial print models appear in magazine ads, newspapers, newspaper fliers/inserts, brochures, school text books, catalogues, billboards, Internet ads, hang tags, food packaging, and numerous other product pictures (too many to list all). We mentioned earlier that there is flexibility in the model’s appearance and even size. The requirements aren’t as strict as the editorial fashion model regarding height, weight, and body measurements, but the model hired for a commercial print job is required to fill the shoes of whatever “character” that they have been hired to portray in front of the camera. The character is usually booked according to the model that suits the role closest such as “young mom”, “middle-aged pilot”, “corporate executive”, “young nurse”, “college student”, etc. The company or ad agency has its own idea of how they want their product or service represented, so the model must “look” and “project” the part to the client and photographer. This involves acting. The younger model is unlikely an experienced or trained actor, but modeling is a version of role playing, so acting is a personal trait that can improve the model’s ability to get into character. Actors compete for these jobs, as well, in commercial print, so it’s not just for career models. Everyone wants the work. Commercial print modeling may or may not be a full-time career choice as compared to the editorial fashion model’s often hectic schedule.

Flexibility in a model’s availability is also a key requirement to getting the work when jobs are available, too. Some bookings are literally last minute when clients need someone a.s.a.p. for “whatever” reason they may find (model never showed, model not doing their job well, etc.) There are often a team of people relying on “everyone” to do their job and show up on time. Time is something that is paid for and a model should never assume that being even five to fifteen minutes late is acceptable. This is not a social situation, but rather a professional, paying job. Being a little early is well worth the experience of not frustrating a team of creative individuals and allowing you some breathing time to get into character! Being on time shouldn’t be considered as showing up at the exact moment that the job is officially starting. It is implied that you should know to be a little early to catch yourself up with any required information, extra preparation, or updates to what is going on for that booking. Your mind should be open to whatever character that you will be portraying and how you may best show whatever product or implied service via your poses and any props.

Clothing may not always be provided by the client…surprise! You don’t want to find that out last minute! This is part of the commercial modeling industry where you may provide the “props” such as clothing, shoes, eye glasses, jewelry, etc. You may even be required to put on your own make-up and do your own hairstyle. It’s not as glamorous as the general public perceives, huh? It all depends on the budget of the client, so you must be aware of this BEFORE you show up for the booking. Always get as much information from the agency when booking your schedule about any special considerations. It never hurts to check up on a potential client before a go-see, either, to learn what it is that they do if you are unfamiliar with them. Whatever gives you information that can help you get the job or be prepared to do the job even better is smart. (a.k.a. “a smart model”)

How to Become a Successful Commercial Model: The Complete Commerical Modeling Cookbook