I got the email below from John Magnus, a fan of the site. I think it may be a good way to address some of the concerns he has and also answer others who may be thinking of asking or doing the same thing. It is quite a detailed inquiry and I will try to answer as best I can.

I’m trying to expand my photography from hobbyist to a pro so that I’m working full time at it at least by the time I retire; probably 6 years from now. I’m 59. Given my overall life experience and the number of years I’ve been an avid hobbyist, I’m embarrassed to say how much I don’t know about working with models. Thus, the reason for sending you this email rather than posting a stream. I hope you don’t mind this approach.

Initially, I want to work with models breaking into their career and do TF work with them so we can both expand our portfolios. I’m doing this largely because I don’t have the money to pay hourly for an experienced model.

That’s my plan, but I’ll be damned if I know how to get it rolling. I’m signed up as a photog on MM, and have posted a few of the model photos in my Flickr stream on MM. If you look at them, that’s the extent of my experience working with models.

Sorry for the long email, but I had to set this up for you before asking some basic questions. BTW I chose you because I love your work (NO, I’m not complimenting you just to get a response. I’m serious.) and your opinions in streams generally seem to be pretty much in line with mine. Anyway, here goes.

If you were in my shoes, would you approach this differently? How?

When you work with a model, are you the one who has to have the creative ideas/themes or do you depend on the model and/or a client to give you the ideas? How important is it for me to have the poses and ideas myself? (After looking at your work, I’m afraid I may not be that creative.)

I am the idea man so to speak. I see something in my head and then want to shoot it. Constantly scanning the environment and putting this with that and such in my head till something clicks. Clients sometimes offer specific layouts and designs which I must work within, but most of the time the clients want a particular look or feeling to emerge. When working with models I want them to be part of the creative process whenever possible. Some can do that and some can’t - hard to determine in advance, but it is something to consider when working with a talent.

As far as ideas… they can come from all over the place. Makeup Artist may have an idea she wants to try. We discuss, I add my spin to it and we are off. Many times models will have an idea, and it is up to me to finish it off. “I want to shoot with a Mustang Convertible” ends up being something that I make up, as the original idea is quite broad. Comes nitty-gritty it comes to me. I am open to input from all when it gets down there and I love it when they come up with cool ideas that then spur more ideas from me.

How important is it for you to have ideas? Very. Very, very, very. You are the leader and it is ultimately up to you to present what you - and your collaborators - want. Take input, formulate solutions and then execute your vision of what it is that is being done.

As far as not being creative, grab a copy of “W” or “Bazaar” and cut out the shots you love and would like to emulate. It isn’t copying… you couldn’t possibly copy… just use it as a starting point so everyone has the same basic image in their head. Make a tear sheet book, or what some call a ’swipe file’ and keep it filled with images that you love.

You may find yourself buying more fashion magazines than you ever thought you would, but there is no substitute for seeing images within the genre you want to shoot.

Do you have suggestions for me as to what type of poses I should suggest to new models to help them build their portfolios if they don’t know what they need?

Not really specific. I have certain poses that I like to start with and grow into the rest of the shoot. Sometimes the clothes dictate the starting pose, or the idea (sitting vs standing and like that), but most of the time we are looking for a great starting point. Your model should move only small amounts within the pose… working it in every iteration till moving on to the next pose or subset of that pose.

Looking at a models book will reveal what she needs, but the best thing to do is simply ask her what she needs. She knows what is missing. I think it may be the best way to collaborate with models who have more experience than you do. Find out what they want to do. Determine if it is something you can do, and do well, and start to plan the details of it.

Do models normally have their own wardrobe, or am I expected to supply it?

Well, at the beginning of this process, use the girls wardrobe. Suggest she borrow clothes as that will make it more special in that she isn’t wearing something that she has worn time and again. Trying to supply wardrobe is a big hurdle that will prevent you from shooting.

I have a MUA, but I’m not at all sure how/when to use her. Again, I’d prefer not to spend a lot of money building my portfolio, but if an MUA is necessary, that’s at least something I can negotiate with the model. Or isn’t it done that way?

MUA need images for their books as well. A three way trade is a great way to go. Collaborate with them and make sure you are all getting what you want and need. Is it totally necessary to have a MUA? Well, for headshots and beauty, yeah, probably. I work with some models who can do a great job on themselves, but a great team mate MUA is a vital part of your shoot.

Models can help defray the cost if it is something they need as well. Sometimes models will simply pay the MUA knowing that they cannot do the makeup well themselves.

Lots of different ways to shoot with MUA’a. You will discover your own.

There are a couple of local sites that rent out studio space for $12 to $30 per hour that I can use if I need to. However, I have a couple of backdrops and 2-600 Norman and 1-400 Norman monolights, stands, etc. to use at home with enough space to make it work as a small studio. My preference is to go this way. Do you suggest another approach? How about from an equipment perspective?

Booking a few models into a space for 3 hours under a hundred bucks is pretty good. Find other places that you can shoot as well. Garages, lobbies, corridors, abandoned properties in safer areas. All can be quite appealing as a location.

Shooting from my home is not something I have ever done. I know that some do, but I always wanted my studio to be somewhere else and have it be totally devoted to what I do there. I need what I need and setting it up in the living room just never appealed to me. That would be your call and there is no right or wrong answer there.

Equipment list sounds fine. I am not an equipment junkie at all. You have three lights that will give you plenty of power. Control them and get the shots you need.

OK, so let’s say all goes well and I have a lot of photos of different models. What the hell do I do with them? How do the models get anywhere with them? And, maybe more to the point, how do the models benefit from working with me rather than someone else? Other than the obvious I’m a great guy. : - }

Well, I really don’t know the answer to that one. If you are trying to become a professional shooter, they are samples of your work and creativity. If you are shooting for stock sales - third party usage - you will need a release from the models and a good idea of what you are shooting for.

If you are asking me what all those guys on Model Mayhem do with all those T&A shots of girls topless in fishnets and stripper heels? Dude… I have no idea. Get other girls to take their clothes off and don the stripper heels I guess.

Models should benefit from working with you by getting images that show them in a different light, a different emotion, mood, style. Your work should be defining of something. You want your style to come into the shot so that they are proud to show your images.

Some models do it for the sheer joy of doing it. Recreational shooting I call it. (Actually those who know me know that I call it something else, but this is a family blog… heh.) Both photographers and models love the shoot process more than any other aspect of it. The point of a shoot is to develop another shoot. It is fun. It beats watching TV on a Saturday afternoon. Models too. Just shoot shoot shoot… it is something to do.

What they do with the pictures to advance themselves is ultimately not your responsibility. Your job is to get them great images.

How do I sell these photos I’ve taken, or do I? And to whom?

Well… that is something you would have to decide. Stock (third party sales) would mean a great deal of investment into getting enough images together to make a serious . That may not be a way to go initially. Shooting portraits and Senior Pics may be a way to get commissions from the images when they are used as samples and test shots where both shooter and model work to try new things.

There is micro-stock and I would suggest finding a thread or two on the forums to go that way. I am not a big fan of it so I don’t know that much about it.

Print sales like PinUp and R-sexy can sell as prints without releases, but no nudity or implied can. In the US at least. There is certain paperwork that must be filed if it crosses a fairly definitive line. Posters and such. If you are talking about shooting nudes and erotic, there are several websites that will buy your picture sets.

Well, by now you might be thinking what I’m already wondering, why is this guy who is clueless getting into this business? Seriously, your answers to the above and guidance can go a long way toward boosting my morale right now. This is something I’m passionate about, but I’m not at all confident about my abilities at the moment. The good news? I have a full time day job that pays well, and I can retire from it when I choose. Please don’t say keep your day job, unless you really mean it!

The above is not my call. Your questions were not unlike lots I get, but they all came at once on your email. I decided to answer it as an answer to many with the same questions.

Confidence comes with practice. Practice only good work, never bad. Develop and grow. Getting started is a tough part, but there are ways to get the talent you need to get started that aren’t as challenging as some of the online ‘agencies’ are. Gymnasts, dancers, ice skaters, actors, athletes… all are in need of pictures. Try going that way until your portfolio looks even better.

Finally, I’ve heard a lot about your classes. Are you ever coming up to Minnesota? I’d love to attend one of them.

Well, I just don’t know about Minnesota at this point. Check the workshop page for the current itinerary.

I hope that answers some questions a lot of people may have.