People, some would argue, are the key to successful stock. A shot of a pretty beach will almost always sell better if it’s also a shot of a pretty girl, or a group of beautiful people having fun. Nothing humanizes an image like a human—it is the difference between the viewer appreciating the beauty of the picture, and transporting right into the image. Of course, finding models isn’t always easy—especially for the new photographer, or the photographer new to living, breathing subjects. Fortunately, it’s not as hard as you might think—some common sense and some simple steps will have your models swearing that you’re a pro, and coming back for more.



Attractive people are everywhere. And these days, they're organizing, making it easier than ever to track down aspiring models-- modelmayhem.com, musecube.com, and onemodelplace.com will all put you in contact with other photographers/models/stylists/make up artists in your area, either for free or a fee. Many of these models are willing to work on a "TFP/TFCD" basis, which means that they are willing to trade their time for prints or a CD of the best images from the shoot.

Of course, attractive people aren't just on modeling sites-- they're at the supermarket, in the mall, doing everyday things. Carry business cards with you if you're comfortable with a casual pitch to a stranger; just make sure you're approaching people at the right time and place. Coming up to someone in a grocery store is fine; interrupting a romantic meal at a restaurant probably isn't. Keep your explanation short and to the point, and don't push for an answer that second. Give them your card with your contact info and walk away, no pressure. If the person you approach is comfortable having their picture taken by a stranger, they'll call-- and you won't come off like a creep.

And remember: if the person you want to photograph is a minor, approach the parent. If you don't see a parent, don't approach the kid.



No matter how you approach potential models in the end, you have to know what you're going to say before you try. In order to make people comfortable with the idea of you shooting them, you have to appear confident and knowledgeable.

A bad introduction: "Hi, I sell pictures of people on the Internet, and you're pretty attractive. Would you mind if I shot pictures of you sometime?"

A better introduction: "Hello, my name is (whatever) and I'm a freelance stock photographer. I've been looking for new models, and I was hoping you'd be interested."

This may be nothing more than a hobby for you, but don't sell yourself short. iStock is a business, and when you shoot for your iStock portfolio, you are shooting for a business. Photos from this site have been used on Apple's website, in Maxim, in Subway commercials. Your photos may not have been, but there's always the chance-- this isn't like shooting for the family album. Feel comfortable enough to call yourself a freelancer, or preface that with the word "aspiring" if it makes you feel more at home. Don't lie and say you're something you're not; that goes just as much for saying you're some shmoe with a camera as it does for saying you're an internationally-celebrated pro.



It can be tempting to downplay the model release, to toss it at the model with a dismissive, "Oh, this is just so the photos can be used in my portfolio." This is the absolute wrong approach to take; even if the model does not read the agreement and signs it anyway, you may have legal trouble later on-- and if she does read the contract after you made it sound so innocuous, you will have an irate model on your hands and plenty of bad word of mouth.

Take some time to quickly explain what can and can't be done with the photos you take on iStock; advertising is okay, slander isn't, neither are "sensitive" topics. The model release is broad and the licensing agreement is narrow so that iStock can cover as many bases as possible, and if you're foreseeing a long discussion about the model release, bring a copy of the license agreement as well.

If you're working with a relative stranger, respect the fact that the person you're shooting may want to ensure their safety by bringing an escort-- usually a friend or family member. Make sure to discuss the presence of any escorts with your model, and to let him or her know that an escort is not to interfere with shooting. Most models that take their work seriously won't have a problem with that, and will probably bring the same person along to most, if not all, their shoots. Some escorts will even offer to assist you with reflectors or gear-- basically, if you are accommodating, chances are that your model will be as well.



As with many things in life, simple courtesy can take you a long way; in the photography business, it can get you a strong relationship with a reliable model. If you want the subject to walk away from a shoot going, "Wow! I can't wait to work with that photographer again!" then you have to approach the shoot itself from a business standpoint.

Portrait photography is like any other luxury service, such as hairstyling: people are there for a product, sure, but the main thing they will remember is the atmosphere and the service. And if you're working on a TFP/TFCD basis, the service you provide is everything.

Make sure you've secured a good location to shoot in; if you have a real home studio, that's fine, but if you usually stick your family members in front of a pinned-up sheet in your rec room, don't be offended if the model takes one look at your setup and suddenly remembers that she's too sick to shoot. There are plenty of great outdoor locations, and everyone loves environmental portraiture anyway. Regardless, make sure that the location of the shoot is somewhere photogenic and that instills a sense of safety for your model.

If the model desires, meet with him or her in person, in a public place, before the shoot-- it will give the person a chance to get to know your vision for the shoot, and give you both a chance to discuss expectations without the ambiguity of email. If you're shooting TFCD and you have the perfect business shoot in mind, be sure to ask what the model is lacking in his or her portfolio anyway! When you're shooting on a trade basis, it is important that everyone walks away from the shoot with something valuable. Besides, genuine collaboration might lead you in a direction you never would have thought of on your own.

Confirm the shoot no more than 24 hours in advance-- just a quick call to make sure that all systems are go. This will help weed out no-shows, remind anyone who might be scatterbrained, and generally show that you're dedicated to and excited about the photo shoot.

Make sure the model has clear, concise directions to the shooting location, as well as a cell phone number where you can be reached in case the model gets lost on the way.

Communication is key. If you don't know what you want your model to do, it will seem as though you don't know what you're doing. Take some time before the shoot to come up with ideas and poses. Try hand and body positioning yourself, in a mirror, to get an idea of what is comfortable, what looks good, and what doesn't.



Provide bottled water for all shoots, and if you shoot through a meal, offer to order food delivered, or offer to pick up food at a local cafe or fast-food place after the shoot while you sign paperwork and look at the good shots on your camera. (And always pick up the check.) Don't push the idea of going out to eat with your model after the shoot, but if the person has been in front of your camera for 7 hours straight, be absolutely certain you offer. If the model brings an escort, and the escort is assisting you or the model, make sure you include that escort in your offers of hospitality.

Communication is key. Don't feel weird or bad ordering your model around; you are the photographer, and the model is basically an interactive prop. Feel free to solicit ideas from the model, and to listen if he or she suggests something-- but do not schedule shoots with models and expect them to do your work for you. Demonstrate poses yourself if they're overly complex-- if nothing else, your model will probably giggle at you and it will be a great icebreaker.

If you're not a people person, the best thing you can do is be honest. Tell the model, "I'm really excited about this shoot, but you should know that I tend to get wrapped up in what I'm doing, and I don't make a lot of small talk. If you need direction or think I'm being uncommunicative, please, let me know. And certainly, if there's anything I can do to make the shoot more pleasant for you, let me know that as well. I want to make sure we both come away with great images, so if I seem quiet, it's because I'm concentrating on making that happen."

Turning on the radio can be a great cover, too-- it fills in the awkward silence, and gives you something to actually talk about with the model.

If you can spare the time to digitally review the images during the shoot, do so, and show the model the good pictures. If they see what works, and see you getting excited by what you're shooting, the model will relax and feel more confident that the work is successful. It's also a great way to steer the model away from looks or poses that might not be working-- you never want to be rude, and you can avoid discussing what doesn't work by praising the good stuff.

Be attentive to the time-- if the model has expressed a need to leave by a certain hour, or the length of the shoot has been pre-determined, make sure to have everything wrapped up in time. If you're including specific shots in the session at the models behest, do not save the shots the model wanted for last! Those are a large part of the model's compensation, and deserve the same amount of attention and care as the shots you take for yourself.

Make sure you shake your model's hand at the end of the shoot, thank them for their time, and say; "I'll have your images to you in" followed by a set time period. Then make sure you honor that agreement!



One of the most common complaints voiced by models online is that of the vanishing photographer-- one who will put a model through the rigorous paces of a TFCD shoot, and then never deliver the CD. Once again, respect your model-- he or she deserves to be compensated for their work. Expectations regarding the number of images vary-- if working on a TFP basis, the general rule is one print per hour (Usually 8x10 or 10x14, but it's always polite to ask your model what size he or she would prefer). For TFCD, include everything you process for yourself, and include the pictures you shot specifically for the model, even if you don't feel they're stock-worthy.

The polite thing to do is to include two folders on the CD-- one of print-sized images, and one of web-sized images. (This also helps prevent the model from displaying your photos any larger than you would like online.) If you know your model is eager to show off the work in his or her online portfolio or MySpace profile, sending occasional quick emails with internet-resolution images as you finish processing them are a grand gesture. Always include a photocopy of the model release with the prints, or include a digital copy of the release on the CD.

When you deliver the CD or prints to the model, you're giving them something of value-- show it. Don't hand the model an unlabeled CD, or worse, one with their name scrawled on it in black marker. Label each CD neatly with the model's name, the date, and the photographer's name, and deliver it in a case. Prints should be delivered in a print box or sturdy cardboard envelope, properly labeled, and each print should be separated by tissue.

Make sure to include a "Release to Print" with each CD-- many one-hour photo places will not print digital images if they look professional. Include your name and phone number on the release, and state that the model is allowed to print images for personal use only, but not for sale or commercial purposes.

And again, whether you’re meeting with the model or mailing the CD or prints—include a thank you.